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This  copy  is  No.sJJiA 


A    CYCLOP/EDIA    OF    WORKS    OF 

ARCHITECTURE 

IN 

ITALY,   GREECE,   AND   THE    LEVANT 


CONSTANTINOPLE— INTERIOR  OF  ST  A.  SOFIA 


CYCLOPAEDIA    OF    WORKS    OF 


ARCHITECTURE 


IN 


ITALY,    GREECE,   AND   THE    LEVANT 


EDITED    BY 

WILLIAM    P.    P.    LONGFELLOW 

HONORARY    MEMBER    AND    LATE    FELLOW   OF    THE    AMERICAN    INSTITUTE   OF    ARCHITECTS 


NEW   YORK 

CHARLES    SCRIBNER'S    SONS 
M  DCCC  XCV 


Copyright,  i8g^,  by 
Charles  Scrihiier's  Sons 


PREFACE 


THE  purpose  of  this  volume  is  to  give  a  conspectus  of  tlie  archi- 
tecture of  Italy,  Greece,  and  the  Levant,  arranged  for  easy  I'ef- 
erence,  which  shall  be  sufficient  for  the  general  reader  or  the 
traveller,  and  at  the  same  time  furnish  the  student  of  architecture  a 
fairly  adequate  account  of  the  important  monuments  and  give  him  finger- 
posts for  guidance  in  further  investigation.  It  was  at  first  proposed  to 
record  the  historical  and  literary  associations  of  the  buildings;  but  it 
was  found  that  this  must  swell  the  book  beyond  reason,  or  else  exclude 
the  fulness  of  description  which  the  architectural  student  had  a  right 
to  expect;  the  historical  accounts  are  therefore  limited  to  a  statement 
of  the  most  important  facts. 

The  selection  of  examples  has  been  a  difficult  work,  and  often  a 
doubtful  one.  Italy  is  pre-eminently  the  land  of  architecture  ;  her  medi- 
aeval churches  and  palaces  count  by  thousands,  and  her  later  buildings  of 
importance  are  much  more  numerous ;  Greece  and  Asia  INIinor  and  Syria 
are  strewn  with  the  remains  of  classic  architecture.  Near  the  line  of 
exclusion  the  choice  often  lay  between  Iniildings  of  practically  equal  im- 
portance, among  which  sometimes  the  chief  determining  influence  was  the 
necessity  of  deciding.  Ai-chitectural  interest  first  and  historical  second 
were  the  obvious  tests,  and  so,  while  some  large  and  conspicuous  build- 
ings are  omitted,  many  less  conspicuous  are  included  on  account  of  some 
quality  of  form  or  importance  in  the  line  of  ev^olutiou,  or  occasionally  for 
some  historical  association  that  makes  tliem  objects  of  common  inquiry. 
The  same  reason  led  at  times  to  what  will  be  considered  disproportion  in 
fulness  of  treatment;  but  this  is  as  often  conditioned  V)y  the  accessible 


PRE  FA CE 

iiiforinatiou,  which  is  singularly  unequal.  Antiipiity  also  gives  not  onl)- 
interest,  but  exemj)lary  value  ;  and  so,  while  the  classical  part  of  the  book 
is  fullest,  the  fulness  natui-ally  diminishes  with  the  increasing  centu- 
ries; as  a  rule  the  buildings  of  the  nineteenth  century  are  excluded. 
It  is  hardly  to  be  expected  that  any  one  seai'ching  examiner  will  absolutely 
approve  the  selection  made  by  another  person,  but  it  is  hoped  that  the 
book  may  be  estimated  rather  by  the  value  of  what  it  contains  than  by 
the  desirability  of  what  it  omits. 

Historical  controversies  are  obviously  out  of  place  in  such  a  book,  and 
there  has  been  no  attempt  to  decide  them.  Whoever  has  studied  archi- 
tectural history  knows  the  unevenuess  and  uncertainty  of  the  authorities ; 
and  the  assumption  of  minute  accuracy  in  points  where  such  accuracy  is 
not  attainable  has  been  avoided.  The  reader  may  be  surprised  at  an  ap- 
pearance of  looseness  in  the  statement  of  dates  and  oftener  of  measures. 
This  is  from  a  set  purpose  to  put  him  on  his  guard  against  a  delusive 
precision.  It  is  safe  to  say  that  no  one  knows  the  precise  measures  of 
many  of  the  buildings  that  ai'e  given  in  the  books,  though  they  be  stated 
with  great  minuteness ;  nor  is  this  important  for  general  purj)oses,  pro- 
vided they  are  true  in  the  rough.  In  classic  buildings,  which  are  studies 
of  minute  proportion,  archaeologists  have  made  a  great  efEort  at  exactness, 
and  the  measures  are  given  with  corresponding  minuteness;  but  in  later 
architecture  the  reader  should  wittingly  share  the  uncertainty  in  which 
the  investigator  is  left.  There  is  tlie  same  difficulty  with  dates.  Often 
a  building  can  be  referred  only  to  a  particular  reign  or  lifetime ;  often  it  is 
not  clear  to  what  part  of  it  a  recorded  date  refers.  Frequent  aliases  and 
changes  of  name  in  both  men  and  buildings  are  a  further  obstacle  to  in- 
vestigation. Moreover,  buildings,  especially  those  which  are  in  use,  are 
subject  to  removal  and  alteration.  A  good  deal  of  pains  has  ])een  taken, 
up  to  the  last  moment,  to  revise  the  descriptions  by  personal  examina- 
tion ;  but  this  has  not  always  been  possible,  and  renewal  is  continual : 
doubtless,  then,  in  particular  cases,  restoration  or  decay  has  changed  de- 
tails Avliich  are  here  recorded.  It  can  only  be  hoped  that  the  pains 
which  has  been  taken  has  made  the  l)Ook  on  the  whole  trustworthy  and 
adequate. 


PRE  FA CE 

The  (question  of  orthograpliy  is  another  dilliculty,  especially  in  class- 
ical names.  The  sj^stems  oi  transliteration  that  have  been  lately  devised 
l)y  classical  students  are  so  inchoate  and  so  far  from  consistent  in  them- 
selves, that  a  reaction  against  them  seems  to  Ije  already  setting  in.  For 
the  necessary  choice  among  rival  inconsistencies  that  one  which  is  sim- 
plest and  most  familiar  has  been  preferred,  and  when  a  Latin  form  has 
gained  currency  in  English  it  has  been  chosen,  rather  than  the  transliter- 
ated Greek.  AVith  modern  names  the  case  is  different.  Italian  names  at 
least  are  now  reasonably  familiar  to  educated  people,  and  it  is  only  for 
such  inveterate  misnomers  as  Florence  and  Leghorn,  or  such  familiar 
names  as  St.  Peter's,  that  the  English  form  is  used ;  it  has  been  thought 
best,  liowevei',  to  give  in  the  titles  not  only  the  real  names  of  towns,  but 
the  transcriptions  and  corruptions  of  them  that  are  most  current  in  for- 
eio:u  languages. 

Much  care  has  been  given  to  the  illustrations :  they  are  as  full  as 
they  could  well  be  without  taking  too  naucli  space  from  the  text.  The 
editor  has  tried  to  show  familiar  monuments  in  new  aspects  as  far  as  was 
practicable.  Some  well-known  subjects  have  V)een  omitted  in  favor  of 
others  which  it  is  less  easy  for  the  reader  to  find  elsewhere,  and  many 
less  conspicuous  monuments  are  presented  for  the  sake  of  some  artistic 
interest  or  of  their  significance  in  the  secpienee  of  architectural  forms. 
Tile  illustrations  have  been  made  directly  from  photographs  Avhen  this 
could  be  done,  or  have  Ijeen  drawn  for  use  here :  very  few  are  repro- 
ductions of  other  illustrations,  and  for  these  credit  is  given.  \\\  two  im- 
portant instances  special  effort  has  been  made  to  show  what  has  hereto- 
fore been  neglected  : — the  drawing  of  the  rear  of  St.  Peter's,  carefully 
constructed  from  photographs  and  measured  plans,  gives  the  church  as  it 
would  appear  if  the  houses  that  crowd  about  its  lower  parts  were  pulled 
away,  and  shows  it  therefore  as  Michael  Angelo  intended  it  to  appear, 
but  as  it  is  never  seen.  Tiie  photogravure  of  the  interior  of  Sta.  Sofia 
was  prepared  because  the  composite  photographs  that  are  in  cir- 
culation show  this  noV)le  interior  with  broken  lines  and  distorted  propor- 
tion, and  the  only  published  drawings  which  give  an  adequate  impression 
of  it,  those  of  Fossati,  are  unsuited  for  reproduction. 


rREFACE 

The  classical  part  of  the  book  is  the  work  of  Mr.  Thomas  W. 
Ludlow,  whose  death  before  its  publication  not  only  is  a  great  personal 
loss  to  his  associates,  but  has  deprived  it  of  the  last  revision  wliieli  he 
had  hoped  to  give  while  it  passed  through  the  press.  The  editor's 
office  has  not  gone  beyond  such  modifications  of  form  as  were  necessary 
to  adapt  it  to  the  limitations  of  the  Vjook,  and  the  occasional  correction 
of  an  oljvious  clerical  error :  he  trusts  that  Mr.  Ludlow's  scholarship  and 
industry  have  made  other  alteration  superfluous.  The  bibliography  of 
this  ])art,  which  ^iv.  Ludlow  had  not  an  opportunity  to  arrange,  has 
been  j)rovided  l)y  Professor  Harold  N.  Fowler.  The  greater  number  of 
the  articles  on  tlie  medi;eval  and  later  architecture  of  Italy  was  furnished 
by  Mr.  Charles  A.  Cummings,  to  whose  co-operation  a  great  part  of  the 
value  of  the  book  will  be  due.  Some  special  ai'ticles,  particularly  on  the 
Gothic  and  Romanesque  churches  of  middle  Italy,  are  contribiited  by 
Pi'ofessor  A.  L.  Frothingham,  Jr.,  and  arc  distinguished  by  his  initials, 
being  the  unpublished  record  of  his  personal  study  of  the  monuments 
themselves. 

W.  P.  P.  L. 


LIST   OF    ILLUSTRATIONS 


FULL- PAGE  PHOTOGRAVURES 


CONSTANTINOPLE— INTERIOR    OF    STA.    SOFIA       Frontispiece 

From  a  iiraiving  by  the  Editor 


To  Face 
Page 


ATHENS— THE   ACROPOLIS 48 


ATHENS-CHORAGIC    MONUMENT    OF    LYSICRATES       .      96 


BAALBEK— TEMPLE    OF   JUPITER,    NORTH    FRONT  .     144 


CONSTANTINOPLE— MOSQUE    OF   SULEIMAN 


FLORENCE— CATHEDRAL   AND    CAMPANILE  .         .     240 


To  face 
Page 


MILAN— PIAZZA    DEI    MERCANTI 288 


MURANO— S.    DONATO 336 


PISA— GENERAL   VIEW 384 


PISTOIA— CATHEDRAL  SQUARE        .  •        .  .         .432 


SIENA— INTERIOR   OF   THE    CATHEDRAL        .         .         .480 


VENICE— S.   MARCO,   CENTRAL    PORTAL  .  .  .     ^12 


ILLUSTRATIONS  IN   THE  TEXT 


FIOtntE 

1 


4. 

5. 
C. 


9. 
10. 
11. 
la. 
13. 

14. 

l.i. 
10. 

ir. 

18. 

19. 

20. 
21. 
22. 
23. 
24. 

25. 


Abbiategrasso,    Clmrch,    after 

iliintz 1 

Adrianople,  Great  ^losquo 3 

Albe,  S.  Pietro 6 

Alinermo,    S.    Tommaso   in    Li- 
mine, after  Dartein S 

Altanuira,  Catliedral,  matroneo.  9 

Altaniura,  Cathedral,  porcli ....  9 

Amalfi,  Cathedral 10 

Ancona,  Trajan's  Arch 11 

Ancona,  Cathedral,  plan 12 

Ancona,  Cathedral 13 

Aosta,  Arch  of  Augustus 14 

Aquila,  S.  M.  di  Collemaggio . . .  IG 
Aquileja,  Cathedral,  interior,  af- 
ter Jackson 17 

Arezzo,  S.   M.  della   Pieve  and 

Fraternita 18 

Asjjendos,  Theatre,  from  Durm.  22 

Assisi,  S.  Francesco,  section...  23 
Assisi,    S.    Francesco,    lower 

church,  interior 24 

Assisi,  S.  M.  degli  Angeli,  plan, 

after  Laspej'res 25 

Assos,     Temple,     after     J.     T. 

Clarke 27 

Athens,  Acroiiolis,  p)lan 29 

Athens,  Acropolis 30 

Athens,  St.  Theodore 31 

Athens,  Erechtheum 32 

Athens,  Horologium  of  Audroni- 

cus,  or  Tower  of  the  Winds  .  34 

Athens,  Parthenon 38 


FIGITIE  PAGE 

20.  Athens,  Temple  of  Nike  Apteros.  42 

27.  Athens,    Theatre    of    Dionysos, 

front  of  stage 44 

28.  Athens,  Theseiim 45 

29.  Baalbek.  Roman  ruins,  plan ....  40 

30.  Hai-i,  S.  Niccolo 51 

31.  Barletta,  S.  M.  Maggiore 52 

32.  Benevento,  Trajan's  Arch 54 

33.  Bethlehem,  Church  of  the  JSJa- 

tivity,  plan 56 

34.  Bitetto,  Cathedral 57 

35.  Bitonto,  Cathedral,  pulpit 58 

30.   Bologna,  Madonna  di  S.  Luca..  GO 

37.  Bologna,  Madonna  di  8.   Luca, 

jilan,  after  Gurlitt GO 

38.  Bologna,  La  Mercanzia 01 

39.  Bologna,  Palazzo  Bevilacqua  . .  .  02 

40.  Bologna,  Palazzo  Fava,  court  . .  02 

41.  Bologna,  S.  Petronio 03 

42.  Bologna,  S.  Sepolcro 04 

43.  Bologna,  S.  Stefano,  plan 05 

44.  Caprarola,  Castle,  plan 72 

45.  Casamari,  Convent  Church  ....  74 
40.   Caserta   Nuova,    Royal    Palace, 

stairway 75 

47.  Chiaravalle,  Abbey  Church  ....  80 

48.  Cividale    di    Friuli,    S.    M.    in 

Valle,  interior 82 

49.  Civita-Castellana,    Cat  lied  i-al, 

porch 83 

50.  Como,  Broletto. 84 

51.  Como,  S.  Fedele,  apse,  after  Dar- 

tein    87 


ILr.VSTHATIOXS  JX   THE  TEXT 


53. 
54. 
55. 

5G. 

57. 
58. 

50. 


(il. 

ca. 

63. 
G4. 
G5. 

00. 


08. 
00. 

70. 
71. 


74. 

75. 
70. 


78. 
79. 
80. 
81. 
83. 
83. 
84. 
85. 

80. 


!  TAUE  FIGURE 

Constantinople,  ]\ro.sr|iie  of  All-  87. 

med 80 

Constantinople,  .St.  Irene 02  88. 

(,'oustaiitinoi)le,  Sta.  Sofia 04  80. 

Constantinople,  Sta.  Sofia,  plan, 

after  Fossati 05  00. 

Corneto,  S.  M.  in  Casteliu,  inte- 
rior   08  01. 

Crema,  S.  JI.  della  Croce 100 

Cremona,  Cathedra],  porcli,  fnnn  O'-i. 

Eitelberger 101  03. 

Cremona,  Palace   of   the  Juris- 
consults    102  04. 

Damascus,  Great  Mosque 104 

Daphne,  Convent  Church 105 

Famagusta,  Cathedral 123  05. 

Ferrara,  Castello  ^\>cchi() 124 

Ferrara,  Cathedral 125  00. 

Florence,  Baptistery 128  07. 

Florence,  Cathedral  and  ('ani2)a- 

nile 120  08. 

Florence,  Cloister  of  Sta.  Croce  O'J. 

and  Capella  I'azzi 130 

Florent'e,  Catliedral,  east  end  . .  132  luo. 

Florence,  Cathedral,  plan,  from  101. 

Boito 133  103. 

Florence,  Loggia  dei  Lanzi  ....  135  103. 

Florence,  Palazzo  Guadagni ... .  137  104. 

Florence,  Palazzo  Pitti,  rear  cor-  105. 

ner 130  100. 

Florence,    Palazzo    del    Podesta  107. 

(Bargello)  loggia 140  108. 

Florence,  Palazzo  Riccardi 140 

Florence,  Palazzo  Vecchio 143  100. 

Florence,  Sta.  Croce,  interior  ..  144  11  n. 

Florence,  S.  Lorenzo,  \)hu\.  af- 
ter Laspeyres 140  111. 

Florence,  Sta.  ilaria  Xovella. .  .  147 

Florence,  S.  Miniato 140  112. 

Florence,  S.  Spirito 150  113. 

Fossanova,  Abbey  Church 152  114. 

Genoa,  Cathedral,  porches 150 

Genoa,  Cathedral,  interior 157  115. 

Genoa,  Palazzo  Doria-Tursi. .  . .  158 

(ienoa,    Palazzo    ]!)oria  -  Tursi,  110. 

court,  from  Gurlitt 158  117. 

Genoa,  Palazzo  Durazzo 150  lis. 


Genoa,   Palazzo  Durazzo,  stair- 
way      100 

Genoa,  Sta.  Aununziata,  interior.  101 
Genoa,  Sta.  ilaria  di  Carignano, 

plan 102 

Genoa,    S.    Siro,   interior,   after 

Gurlitt 163 

Girgeuti,  Temple  of  Castor  and 

"Pollux 100 

(iubbio,  Palazzo  dei  Consoli.  ...    liO 
Jerusalem,  Church  of  Holy  Sep- 
ulchre, transept 178 

.Jerusalem,  Church  of  Holy  Seji- 
ulchre,     plan,     after     De 

Vogii6 180 

Jerusalem,  Church  of  Holy  Se^)- 

ulchre,  dome 181 

Jerusalem,  Dome  of  the  Kock. .    182 
Jerusalem,    Temple   Terrace, 

plan 187 

Kalat  Sinum,  Church,  plan. .. .    100 
Kalb-Luzeh,  Church,  jilan,  af- 
ter De  Vogue 101 

Kalb-Luzeh,  Church,  interior  . .   101 
Loreto,  Church  of  Santa  Casa..   195 

Loreto,  Santa  Casa 100 

Lucca,  Cathedral 108 

Lucca,  S.  Frediano,  apse 199 

Mantua,  S.  Andrea 304 

Mantua,  S.  Andrea,  interior  . . .   305 

Matera,  Cathedral 307 

i\Iilan,  Cathedi'al  and  Tower  of 

S.  Gottardo 214 

Milan,  Cathedral,  interior 215 

Milan.  Ospedale   (frande,  court- 
yard       210 

^lilaii,    Palazzo    degli    Osii   and 

Scuole  Palatine 217 

Milan,  S.  Ambrogio 219 

Milan,  S.  Ambrogio,  interior.. .   320 
Milan,  S.  Ambrogio,  plan,  after 

Eitelberger 220 

Milan,  S.  Eustorgio,  Chajiel  nf 

St.  Peter  Martyr 321 

.Milan,  S.  Lorenzo 333 

Milan.  Sta.  Maria  delle  Grazie.   335 
.Milan,  S.  Satiro,  sacristv 23G 


ILLUSTRAT10X8  IN  THE  TEXT 


\v^. 

120. 

m. 

m. 
in. 

lU. 
125. 
136. 
127. 

128. 
129. 

130. 
131. 
132. 
1.33. 
134. 
135. 

136. 
137. 

138. 
139. 
140. 
141. 
143. 
143. 
144. 
145. 
140. 
147. 


148. 
149. 

150. 
151. 

152. 
153. 
154. 
155. 


ilolfetta.  Cathedral,  interior... 

Moureale,  Cathedral,  interior  . . 

Moutepulciano,  Madonna  di  S. 
Biagio,  plan  after  Laspeyres. 

Jlonza,  Sta.  Maria  in  Strada 

^lycenaj.  Lion  Gate 

Xaples,  Alfonso's  Arch 

Xaples,  Cathedral,  interior 

Naples,  S.  Martino,  cloister 

Xazareth,  Church  of  the  Annun- 
ciation, interior 

Nicosia.  St.  Sophia 

Olymjjia.  plan  of  excavations,  af- 
ter Baedeker 

Orvieto,  Cathedral,  central  gable. 

Padua,  S.  Antonio,  rear 

Padua,  S.  Antonio,  plan 

Paestum,  Temple  of  Neptune. . . 

Palermo,  Cathedral,  east  end  . . 

Palermo,  Palatine  Chapel,  inte- 
rior   

Palmyra,  Street  Colonnade  .... 

Parenzo,  Cathedral,  interior,  af- 
ter Jackson 

Pavia,  Cathedral,  plan 

Pavia,  Certosa 

Pavia,  Certosa,  cloister 

Perugia,  Fonte  Maggiore 

Perugia,  S.  Bernardino 

Perugia,  Palazzo  Piibblico 

Perugia,  S.  Pietro,  interior  .... 

Pisa,  Cathedral  and  Tower 

Pisa,  Cathedral,  across  transept. 

Pisa,  Cathedral,  Baptistery, 
Campanile  and  Campo  San- 
to, plan,  after  Rohault  de 
Fleury 301 

Sta.  Caterina 302 

Pistoia,  Madonna  del  Umilta, 
plan,  after  Lasjieyres 306 

Pomjieii,  Forum 312 

Pompeii,  House  of  Cornelius  Ru- 

fus 313 

Pompeii,  House  of  the  Faun . . .   314 

Pompeii,  House  of  Pausa,  plan .  315 

Pompeii,  Temple  of  Isis 319 

Prato,  Cathedral 325 


PAGE 

229 
230 

233 
235 
238 
240 
241 
243 

245 

247 

251 
259 
264 
264 
266 
268 

270 
273 

276 
279 
280 
281 
289 
289 
290 
291 
298 
300 


FIGLKE 

156.  Raveniui,  Baptistery,  interior  . . 

157.  Eavenna,  S.  Aj)olliuare  in  Classe, 

interior 

158.  Ravenna,  S.  Apolliuare  Nuovo, 

interior 

159.  Ravenna,  S.  Vitale,  interior .... 

160.  Ravenna,  S.  Yitale,  plan 

101.  Ravenna,  Theodoric's  Tomb  . . . 

162.  Rimini,  S.  Francesco 

163.  Rome,  Arch  of  Constantiue 

164.  Rome,  Basilica  of  Constantino, 

and  SS.  Cosmo  e  Damiano. . 
105.   Rome,  Cancellaria,  court 

166.  Rome,  Caj)itol  Hill,  plan 

167.  Rome,  Capitol  and  Steps 

168.  Rome,  Castle  of  S.  Angelo 

169.  Rome,  Column  of  Marcus  Aure- 

lius 

170.  Rome,  Fontana  Paolina 

171.  Rome,  Forum  Romanum 

172.  Rome,  Forum  Romanum,  jilan. 

173.  Rome,  Forum  of  Trajan 

174.  Rome,  Palazzo  Borgliese,  court. 

175.  Rome,  Palazzo  Farnese,  loggia. 

176.  Rome,  Palazzo  di  Venezia,  court. 

177.  Rome,  Pantheon,  jjlau 

178.  Rome,  Pantheon 

179.  Rome,  Sta.  Agnese  fuori  le  3Iu- 

ra 

180.  Rome,  S.  Clemeute,  interior  . . . 

181.  Rome,  Sta.  Costauza,  interior  . . 

182.  Rome,  S.  Giorgio  in  Velabro,  and 

Arcus  Argentarius 

183.  Rome,    S.    Giovanni  in    Fonte, 

Baptistery   of   Constantine, 
interior 

184.  Rome,  S.  Giovanni  inLaterano. 

185.  Rome,  S.  Giovanni  in  Laterano, 

interior 

186.  Rome,  S.  Lorenzo  fuori,  interior. 

187.  Rome,  Sta.  Maria  degli  Angeli  . 
1.S8.   Rome,  Sta.  Maria  in  Araeeli,  in- 
terior   

189.  Rome,  Sta.  Maria  in  Cosmedin, 

interior 

190.  Rome,  Sta.  Maria  Maggiore, 

rear 


330 

332 

333 
335 

335 
337 
339 
341 

343 
345 
346 
347 
348 

350 
351 
352 
353 
354 
359 
361 
369 
370 
371 


374 
379 
380 

383 


385 
386 

387 
391 
393 

394 

395 

397 


JLLUSr/.'.iTIOXS  f.V  771 E  TEXT 


FIGURE 

191 


192. 


193. 


194. 


197. 

198. 
199. 
200. 


204. 

205. 
206. 
207. 
208. 
209. 


213 
213 
214 
215 


Mtu'iit  ilellii  Piice. 
jiolo,  Sforzii 
'I'rastovere, 


Kome,  Sta.  Maria  .Maggioiv,  iu-  225. 

terior  398     220. 

Ixome,    Sta, 

cloister 

Homo,  S.  .M.  del   l'( 

MomuuL'Ut .... 
Rome,  St.  Maria  in 

choir  

195.  Rome,  S.  Paolo  fuori,  interior.. 

196.  Kome,  S.  Paolo  fuori,  cloister  . . 
Rome,  St.  Peter's  with  its  colon- 
nades, plan,  after  Fontaua. 

Rome,  St.  Peter's,  front 

Rome,  St.  Peter's,  rear 

Rome,  St.  Peter's,  iutei'ior 

201.  Rome,  Sta.  Prassede.  interior  . . 

202.  Rome,  S.  Stefano  Rotondo,  iilan. 

203.  Rome,  Vatican.  ]ilan 

Rome,  Vatican,  Ilall  of  Statues 

in  the  Belvedere 

Salerno,  Cathedral,  pulpit 

Salonica,  St.  Demetrius,  interior. 

Salonica,  St.  George 

Segesta,  Temple 

Siena,  Cathedral 

210.  Siena,  Cathedral,  plan 

211.  Siena,  Palazzo  Pubhlico 

Taormina,  Ancient  Theatre .... 
Todi,  S.  il.  della  Consolazione. 
Torcello,  Cathedral,  interior  . . . 
Toscanella,  Cathedral 

216.  Toscanella,   Sta.    Maria   Maggi- 

ore,  interior 

217.  Trani,  Cathedral,  doorway 

218.  Troja,  Catliedral,  front 

219.  Turin,  Palazzo  Madania 

220.  Turin,  La  Superga 

221.  Turin,  La  Superga,  \)\m\,  from 

Gurlitt 

222.  L^rbiuo,  Ducal  Palace 

223.  Venice,  Ca'  d'Oro 

224.  Venice,  Library  and   Loggia  of 

Campanile 498     256. 


400 

227 

228 

401 

229 

230 

402 

231 

406 

232 

407 

233 

234 

410 

235 

411 

236 

412 

414 

237 

417 

421 

238 

431 

239 

432 

240 

438 

440 

241. 

441 

450 

242. 

458 

243. 

459 

462 

244. 

473 

245. 

480 

481 

246. 

483 

247. 

248. 

484 

249. 

486 

250. 

490 

251. 

491 

492 

252. 

253. 

493 

254. 

495 

497 

255. 

\'enice,  I'alazzo  Cavalli 

Venice,  Palazzo  Corner  Ca' 
Grande 

\'enice,  Palazzo  Dario 

Venice,  Ducal  Palace 

Venice,  Palazzo  Foscari 

Venice,  Palazzo  Loredan 

Venice,  Palazzo  Pe:^a^) 

Venice,  Palazzo  Rezzonico 

Venice,  Palazzo  Vendramiui  . . . 

Venice,  S.  Ciorgio  Maggiore.  . . 

Venice,  Piazza  S.  Marco,  plan . . 

Venice,  St.  Mark's  and  Ducal 
Palace 

Venice,  St.  jMark's,  plan,  after 
Mothes 

\'enice,  St.  Mark's,  interior. . . . 

Venice,  S.  M.  dei  Gesuiti.  in- 
terior   

\'enice,  S.  M.  (ilorio.sa  dei  Frari, 
apse 

Venice,  S.  il.  dei  Miracoli, 
choir 

Venice,  S.  M.  della  Sahite 

Venice,  S.  M.  della  Salute, 
l)lan  

Venice,  S.  Zaccaria,  \Aau 

Venice,  Scuola  S.  Giovanni,  in- 
terior   

A'enice,  Scuola  S.  Marco 

Vercelli,  S.  Andrea,  plan 

Verona,  Arena  (amphitheatre). . 

Verona,  Cathedral 

Verona,  Palazzo  del  Consiglio  . . 

Verona,  S.  Fermo  Maggiore,  in- 
terior  

Verona,  S.  Zeno,  interior 

Vicenza,  Basilica 

Vicenza,  Theatro  Olympico,  in- 
terior, after  Gurlitt 

Vicenza,  Theatro  Olympico, 
2)lan.  after  Gurlitt 

Vicenza,  Villa  Capra 


PAGE 

502 

503 
504 
507 
508 
509 
510 
511 
512 
514 
517 

518 

519 
520 


J21 


Vi-Z 


523 
524 

524 
.526 

527 
528 
530 
531 
532 
533 

535 
537 
539 

540 

541 
541 


BIBLIOGRAPHY 


To  have  attached  memoranda  of  aiitlioiities 
to  the  separate  articles  would  Lave  greatly 
crowded  or  increased  the  following  pages,  and 
led  to  endless  repetition.  The  list  here  given, 
with  titles  somewhat  abridged,  is  selected  from 
the  embarrassingly  abundant  literature  of  the 
subject  with  the  hope  of  leading  the  reader 
and  the  student  to  such  further  information  as 
they  may  require.  A  complete  bibliography 
has,  so  far  as  the  editor  knows,  never  been 
made  out,  nor  the  authorities  brought  together 
in  any  collection.  They  are  but  inadequately 
represented  in  the  libraries  of  the  United 
States,  public  or  private.  It  is  impossible  to 
know  them  all,  and  some  are  here  cited  of 
which  it  is  not  possible  to  speak  from  iiersonal 
knowledge. 

It  is  hardly  necessaiy  to  tabulate  in  detail 
the  well-kuowu  histories  and  hand-books  of 
Fergusson,  Kugler,  Liibke,  Schnaase,  Kamee, 
D'Agincourt,  Durm,  Adamy,  Gailhabaud,  Per- 
rot  aud  Chipiez ;  the  biographical  works  of 
Milizia,  Vasari,  De  Quincy ;  the  treatises  of  Yi- 
truvius  and  the  great  architects  of  the  Eenais- 
sance ;  the  serials,  too  many  for  mention,  of 
the  archiBological  societies,  English,  Ameri- 
can, German,  French,  Greek,  and  Italian ;  the 
dictionaries  of  classical  antiquities  of  Smith, 
D'Aremberg  and  Saglio,  and  Baumeister ;  or 
the  various  architectural  journals,  English, 
French,  German,  and  sometimes  American. 
Meyer's  (Gsell-Fels  and  others)  and  Jlurray's 
guide-books,  also  the  Guides  Joanne,  and 
Baedeker's  Greece,  contain  much  information, 
more  valuable  and  trustworthy  than  they  are 
often  credited  with. 

To  these  may  be  added  the  following  general 
treatises : 

Botticher.     Tektonik  der  Hellenen. 
Chipiez.     Histoire  critique  des  origiues  de  la 
formation  des  ordres  grecs. 


Choisy.     L'Art  de  batir  chez  les  Byzantins. 
Choisy.     L'Art  de  biltir  chez  les  Ilomains. 
Dehio  und  von  Bezold.     Christliche  Baukunst 

des  Abendlandes. 
Dohme.     Barock  und  Rococo  Architektur. 
Donaldson.     The  Theatre  of  the  Greeks. 
Haigh.     The  Attic  Theatre. 
Hauser.     Styllehre  der  architektonischen  For- 

men  des  Alterthums. 
Hiibsch.     Altchristliche  Kirchen. 
Isabelle.     Les  edifices  circulaires  et  les  domes. 
Krell.     Geschichte  des  dorisohen  Stils. 
Lange.    Das  antike  griechisch-rumische  Wohn- 

hans. 
Jliintz.     Histoire  de  I'Art  i^endant  la  Renais- 
sance. 
Penrose.     An  Investigation  of  the  Principles 

of  Athenian  Architecture. 
Eeber.     Geschichte  der  Baukunst   im  Alter- 

tum. 
Wiebeking.     Biirgerliche  Baukunde. 
Winckler.     Die  Wohnhuuser  der  Hellenen. 
Zestermann.     Uebor  die  antiken  und  christ- 

lichen  Basilikeu. 

And  the  following  : 

A — Classical  Architecture. 
/.    Works  Embracing  ^]llole  Regions. 

Aiusworth.     Travels   and  Researches   iu  Asia 

Minor,  Mesojiotamia,  etc. 
Arundell.     Discoveries  in  Asia  Minor. 
Blouet.     Expedition  scientifique  en  Mor6e. 
Bursian.     Geographie  von  Griechenland. 
Cesuola.     Cyprus,  its  Ancient   Cities,  Tombs, 

and  Temples. 
Chandler,   Bevett,    and   Pars.     Antiquities   of 

Ionia. 
Chandler.     Travels  into  Greece. 
Choiseul-Gouffier.     Voyage  pittoresque   dans 

I'empire  Ottoman,  en  Grece,  etc. 


BIBLIOGRAPHY 


Curtius.     relopoiinesos. 

Deunis.     The  Cities  ami  Cemeteries  of  Etruriii. 
Diehl.     Excursions  in  Greece, 
Fellows.     Journal  Written  during  an  Excur- 
sion iu  Asia  Minor. 
Fellows.      Travels    and    Researches    in    Asia 

Minor. 
Gardner,  Hogarth,  James,  and  Sraitli.     Exca- 
vations in  Cyprus  (Hellenic  Studies). 
Hamilton.     Re.scarches  in  Asia  Minor,  Pontos, 

and  Armenia. 
Hittorff.     Arcliitecture  antique  de  la  Sicile. 
Inghirami.     Monumonti  Etrnsclii. 
Isambert.     Itinerairo  descviptif,  liistoriquo  ct 

areliC-ologique  de  I'Orient. 
Lanckoronski.     Stadte  Pamijhvliens  nnd  Pisi- 

diens. 
Leake.     Peloponnesiaca. 
Leake.     Travels  in  the  Morea. 
Leake.     Travels  in  Northern  Greece. 
Le  Bas  and   Waddington.     Voyage   archeolo- 

gique  en  GrCce  et  Asio  Mineure. 
Lenormant.     La  Grande-Greee. 
Miller.     Le  Mont  Atlios,  Vatopodi,  et  I'ile  de 

Thasos. 
Munro   and   Tuhbs.     Excavations   iu  Cyprus, 

1889  (Journal  of  Hellenic  Studies). 
Porrot,  Guillaumo,  and  Dechat.     Exploration 

archCologiquo  do  la  Galatie. 
Perrot.     L'ilo  do  Crfete. 
Prokesch  vou  Osten.     Denkwi'irdigkeitcn  und 

Erinnerungon  a\is  dem  Orient. 
Koss.     Keiseu  auf  den  griechischeu  Inscln  des 

iigaisclien  Meeres. 
Serradifalco.     Le  Antichita  di  Sicilia. 
Society  of  Dilettanti.     Tlie  Unedited  Anticpii- 

ties  of  Attica. 
Spon  and  Whelor.     Voyage  d'ltalie,   de  Dal- 

matie,  de  GrCce,  et  du  Levant. 
Spratt.     Travels  and  Researches  in  Crete. 
Texier.     Description  de  I'Asie  Mineure. 
Texier  and  Pullan.     The  Principal  Ruins  of 

Asia  Minor. 
Wheler.     Journey  into  Greece,  1C82. 
Wilkius.     The  Antiquities  of  Magna  Gra;cia. 

//.  Special  ^y()|■kfi  and  Monographs. 
(Arranged  in  orcU'r  of  town!*,) 

Akgae. — Bohn  and  Schiichhardt.     Altcrtiimer 

vou  Aogao. 
.SjGlN.i. — Cockerell.     TIk;   Temple   of  Jupiter 

Panhellenius  at  ^?5gina   and  of  Apollo 

Epicurius  at  Bassic. 


Gamier.     Le  Temple  do  Jupiter  Panlicl- 

lenien. 
AfiiiiOENTrji. — Klenze.    Der  Tempel  des  olymp- 

ischen  Jupiter  zu  Agrigent. 
AxcoNA. — Morelli.     Guida  di  Aucona  e  de'  suoi 

dintorni. 
AosTA. — Aubert.     Aoste. 

Promis.     Le  Antichita  di  Aosta. 
Abgos. — Waldstein.    Excavations  of  tlie  .\raeri- 

can  School  of  Athens  at  Argos. 
Assos. — Clarke.     Report  on  the  Investigations 

at  Assos  (Papers  of  the  Arch.  Inst,  of 

America). 

Athens. 

Adler.  Die  Stoa  des  Attalos  (Berlin,  Winckcl- 
maunsprogramm,  1874). 

Bevier.  The  Olympieion  at  Athens  (Papers  of 
the  Amer.  School  of  Class.  Stud,  at  Athens). 

Bolin.     Propylaeen  der  Akrojjolis  vou  Atheu. 

Biittieher.     Die  Akropolis  vou  Atheu. 

Clioisy.     L'Erechtheion. 

Curtius.     Die  Stadtgeschichte  vou  Atheu. 

Doerpfeld.  Many  papers  ou  the  Acropolis  and 
its  buildings  in  the  Mitth.  d.  k.  d.  arch. 
Inst.  Athen. 

Dyer.     Ancient  Athens. 

Fergussou.     The  Parthenon. 

Fowler.  The  Erechtheion  at  Athens  (Papers 
of  the  Amer.  School  at  Atheu.s). 

Fowler.  The  Temple  ou  the  Acropolis  Burnt 
by  the  Persians  (Amer.  Journ.  of  Archa!ol.). 

Frazer.  The  Pre -Persian  Temi^le  on  tlie 
Acropolis  (Journ.  Hellen.  Studies). 

Girard.     L'Asclepieion  d'Athbnes. 

Harrison  and  Verrall.  Mythology  and  Monu- 
ments of  Ancient  Athens. 

Inwood.     Tlie  Erechtheion  at  Athens. 

Micliaelis.     Der  Parthenon. 

Penrose.  On  the  Ancient  Hecatompedou 
wliich  Occupied  the  Site  of  tlie  Parthenon 
(Journ.  Helleu.  Studies). 

Ross,  Schaubert,  and  Hansen.  Die  .\kropolis 
vou  Athen  nach  den  neuesten  Ausgrabung- 
en.     I.,   Der  Temjiel  der  Nike  Apteros. 

Schillbaeh.  ITeber  das  Odeum  des  Herodes 
Attieus. 

Stuart  aud  Revolt.     Antiquities  of  Athens. 

Tuckermann.  Das  Odeum  des  Herodes  Atti- 
eus und  der  Regilla  restaurirt. 

Wachsmuth.     Die  Stadt  Atheu  im  Altertuni. 

AVheeler.  The  Theatre  of  Dionysus  (Papers 
of  the  Amer.  School  at  Athens). 


Bl  I'.LIUC  RAP  IIY 


Bass^. — Cockeiell.     The  Temples   of  Jupitei' 
Panhelleuius  at  ^giiia  and   uf  Apollo 
Epicurius  at  Bassie. 
Stackelbeig.    Der  Apollotempel  zu  Bass.-o 
iu  Arkadieu. 
Benevexto. — JVIeomartiuo.     I  monumenti  e  le 
Opeie  iVArte  della  Citta  di  Beueveuto. 
Peterseu.     L'Aroo  di  Tiaiaiio  a  Beueveuto 
(Mitth.  d.  k.  d.  arch.  Inst.  Rom.). 
Ckotoxa. — Clarke.      Letters    on    Croton   An- 
nual Reports  of   the  Archicol.  Inst,  of 
America. 
ClRENE. — Smith  and  Porcher.     History  of  the 

Recent  Discoveries  at  Cyi'ene. 
DEiiOS.  — HomoUe.     Les  Fouilles  de  Delos. 

Lebigne.     Recherches  sur  Delos. 
DoDONA. — Canxpauos.     Dodoue  et  ses  ruines. 
Ephesus. — Falkener.     Ephesus  aud  the  Tem- 
ple of  Diana. 
Murray.     Remains  of  Archaic  Temple  of 
Artemis    at    Ephesus    (Journ.    Helleu. 
Stud.). 
Weber.     Guide  dii  voyageur  ii  £ph6se. 
Wood.     Discoveries  at  Ephesus. 
Epidaurus.— Dumou.     Le    Theatre    de    Poly- 
clete. 
Kal)badias.     Fouilles  d'tpidaure. 
Eketria. — Fossum    and    Brownsou.     Excava- 
tions in  the  Theatre  at  Eretria  (Amer. 
Jour.  Archieol.). 
Fiesole. — Inghirami.     Guida  di  Fiesole. 
Gjolbaschi. — Benudorf  and   Neumann.      Das 

Heroon  von  Gjolbaschi. 
GoBTYSA. — Halbherr.      Tempio    di    Apollo    a 
Gortyua    (Museo   Italiano,    ii. ;    Monu- 
menti Antichi,  i.). 
Halicabn'assus. — Falkener.      On   the   Mauso- 
leum or  Sepulchre  of  Mausolus  at  Hali- 
caruassus    (Museum    of    Classical    An- 
tiquities). 
Fergusson.     The  Mausoleum  at  Halicar- 

nassus  Restored. 
Newton.      A    History    of    Discoveries    at 
Halicarnassus,  Cnidus,  and  Brauchida!. 
Petersen.     Das  Mausoleum. 
Hercul.\neum. — Carcaui  and  others.    Le  Auti- 
chita  di  Ercolano. 
David.     Les  autiquites  d'Erculanum. 
Gori.      Admiranda    antiquitatum    Hercu- 

lanensium. 
Piroli  and  Piranesi.     Antichita  di    Erco- 
lano. 
Magnesia. — Hiller  v.  Gaertringen,  Kern,  aud 


Doerpfeld.     Ausgrabungen  im  Theater 
von  Magnesia  (Mitth.  d.  k.  d.  arch.  Inst. 
Athen). 
MEGAiiOPOLis.— Gardner,  Loring,  Richards,  and 
Woodhouse.     Excavations  at  Megalopo- 
lis. 
MiLETiis. — Rayet   and    Thomas.      Milot   ct   la 
Golfe  Latmiquo,  Tralles,  etc. 
Rayet.     Lo  Temple  d'Apollou  Didymeeu. 
MvcEXiE. — Schliemaun.     Myken;e. 
Neasdria. — Koldewey.   Neaudreia  (51st  Berlin 

Wiuckelmannsprogr.). 
Olyjipia. — Botticher.     Olympia,  das  Fest  nnd 
seine  Stiitte. 
German  Government  (Adler,  Curtius,  and 

others).     Ausgrabungen  von  Olympia. 
Gorman  Government.     Fuude  von  Olym- 

jiia. 
German  Government.    Olympia.     Die  Er- 
gebnisse  der  .  .  .  Ausgrabungen. 
Orchomentjs. — Schliemann.     Orchomenos. 
OsTiA. — Canina.     Indicazione  delle  Rovine  di 

Ostia  e  di  Porto. 
Paestcm. — Delagardette.     Les  ruines  do  Paes- 
tum  ou  Posidonia. 
Labrouste   and   Dassy.     Les   temples   de 

Paestum. 
!Major.     The  Ruins   of  Paestum  or  Posi- 
donia. 
Piranesi.     Opere,  vol.  xv.  (Paestum). 
Pergamon. — Bohn.     Der  Tempel  des  Dionysos 
zu  Pergamon  (Preuss.  Akad.,  1885). 
Couze,  Humann,  and  others.     Die  Ergeb- 

nisse  der  Ausgrabungen  zu  Pergamon. 
Thiersch.      Die   Konigsburg  von   Perga- 
mon. 
PoLA. — Allason.    Picturesque  A'iews  of  Pola  iu 
Istria. 
Sancovich.     Dell'  Aufiteatro  di  Pola. 
Stuart  and  Revett.    Antiquities  of  Athens. 
PoMPEn. — Donaldson.     Pompei  Illustrated. 
Dyer.     Pompei. 
Gell  and  Gandy.     Pompeiana. 
Mau.     Pompeianische  Beitriige. 
Mazois.     Les  ruines  de  Pomjiei. 
Overbeck.     Pompeji  in  seinen  Gebauden, 

etc. 
Von  Duhn  and  Jacobi.     Der  griechische 
Tempel  in  Pompei. 
Priexe. — Pullan.     Priene  and  Teos. 
Rimini. — Toniui.     Dell'  Aufiteatro  di  Rimini. 
Tonini.     Rimini  avauti  el   Principio  dell' 
Era  Volgare. 


xvii 


BIBLIOGRAPJl  y 


Adlcr.     Das  Pantheon  zu  Kom. 

Blavette.  litnde  snr  le  Pantheon  de  Eomo 
(Melanges  archeologiqnes,  1885). 

Borsari.  II  Foro  di  Augusto  ed  il  Tempio  di 
Malta  Ultore. 

Burn.     Rome  and  the  Campagna. 

Fea.  La  Basilica  di  Constantino  sbandita 
della  Via  Sacra. 

Fontana.  L'Aufiteatro  Flavio  descritto  ed  il- 
lustrate. 

Frohner.     La  Colonue  Trajane. 

Gilbert.  Gescbichte  und  Topograjihie  der 
Stadt  Rom. 

Hiilsen.  Das  Pantheon  (in  Jahresbericht, 
Mitth.  d.  k.  d.  arch.  Inst.  Kom.  1893,  p. 
305). 

Hiilsen.     Das  Septizonium  des  Severus. 

Hiilsen.      Die  Regia  (Jahrb.  d.  arch.  Inst.}. 

Jordan.     Topographic  der  Stadt  Rom. 

Lanciani.  Ancient  Rome  in  the  light  of  re- 
cent discoveries. 

Lanciani.  II  Pantheon  e  le  Terme  di  Agrippa 
(Not.  d.  Scav.,  1881,  1882). 

Lanciani.     L'Atrio  di  Vesta. 

Lanciani.     Pagan  and  Christian  Rome. 

Lesueur.     La  Basilique  Uipienne. 

Middleton.     Remains  of  Ancient  Rome. 

Nibby.  Del  Tempio  della  Pace  e  della  Basili- 
ca di  Constantino. 

Nichols.  The  Regia,  the  Atrium  Vesta-,  and 
the  Fasti  Capitolini. 

NichoLs.     The  Roman  Forum. 

Piale.  Del  TemjMO  di  iSIarte  Ultore  e  dei  tre 
Fori  di  Cesare,  d'Augusto,  e  di  Nerva. 

Piranesi.     L'Antichita  Romana. 

Piranesi.     La  Magniticenza  dei  Romani. 

Plainer,  Bunsen,  Gerhard,  and  others.  Die 
Beschreibimg  der  Stadt  Rom. 

Reinach.     La  Colonne  Trajane. 

Richter.  Die  Angnstnsbauten  auf  dem  Forum 
(Jahrb.  d.  arch.  Inst.). 

Richter.     Tnpographie  vou  Rom. 

Richter  and  Griti.  II  Ristauro  del  Foro 
Traiano. 

S.A.HNrs. — Hittorft'  and   Zanth.      Rocueil   des 
monuments  de  SCgcste  et  de  Selinonte. 

S.VMOTHRACE. — Couzc,  Hauser,  and  Neumann. 
Arch;iologische  Untersuchungen  auf  Sa- 
motbrake. 
Conze,  etc.     Neuo  Archi'iologische  Unter- 
suchungen auf  Samothrake. 


SiCYON. — McMurtiT   and   Earle.     Excavations 

at  the  Theatre  of  Sicyou  (Amer.  Journ. 

of  Arch.). 
Sp.vl.\to. — Adam.     Ruins  of  the  Palace  of  the 

Emperor  Diocletian  at  Spalatro. 
Hauser.    Spalato  und  die  romischeu  Monu- 

mente  Dalmatiens. 
SrNiini. — Doerpfeld.    Der  Temi^el  von  Suuiou 

(Mitth.  d.  k.  d.  arch.  Inst.  Athen,  is..,  p. 

324). 
SriiAcr.sE. — BeuK-.     Les  temples  de  Syracuse. 
Cavallari   and   Holm.     Topografia   arche- 

ologica  di  Siracusa. 
Thoricus. — Miller  and  Gushing.     The  Theatre 

of  Thoricus  (Papers  of  the  Amer.  School 

at  Athens). 
TniYNS. — Schliemann.     Tiryns. 
Tk.^lles. — Humann   and  Doerpfeld.     Ausgra- 

bungeu  in  Tralles  (Mitth.  d.  k.  d.  arch. 

Inst.  Athen). 
Troy. — Schliemann.     Bericht   iiber   die   Aus- 

grabuugen  in  Troja  im  Jahre  1890. 
Schliemann.     Ilios. 
Schliemann.     Troja. 
Verona. — Mallei.     Descrizione  dell"  Anfiteatro 

di  Verona. 
Mafl'ei.     Verona  illustrata. 
Xaxthus. — Fellows.     Account    of    the    Ionic 

Trophy-monumeut  Excavated   at  Xan- 

thus. 


B — Italian  Architecture. 

/.    General  Works. 

Bindi.     Jlonumeuti,  etc.,  degli  Abruzzi. 
Boito.     xVrcliitettura  del  Medio  Evo  in  Italia. 
Burckhardt.     Geschichte  der  Renaissance  iu 

Italien. 
Callet    and    Lesueur.      Architecture    septen- 

trionale  italionne. 
Capeletti.     Le  cliiese  d'ltalia. 
Cattaneo.     L'Architettura  iu  Italia  dal  Secolo 

VI.  al  mille  circa. 
Chapuy.     L'ltalie  nionumentale  et  pittoresque. 
Choisy.     L'art  de  batir  choz  les  Byzantins. 
Clericetti.      Ricerche   sull'   architettura  lom- 

barda. 
Cordero.     Dell'  architettura   Italiana  durante 

la  dominazione  longobarda. 
Cresy  and  Taylor.     Arcliitecture  of  the  Jliddle 

Ages  in  Italv. 


lilBLKXrHA  PUT 


Dauticr.     L'ltalie. 

Dartein.     Etude  sur  rarcliiteotui-e  lombarcle. 

Do  Luynes.     Jlonasteies  cles  Normands  dans 

l'ltalie  uieridioiiale. 
Di  Marzo.     Delle  belle  arti  iu  Sicilia. 
Eulavt.     Oiigiues  t'raiigaises  do  rarchitecture 

gotliique  en  Italie. 
Foerster.     Bauweike  der  Reuaissanco  in  Tos- 

cana. 
Galland    and    Koseuorauz.       Gescliichte    der 

Italianischcn  Renaissance. 
Gally-Kuiglit.     Ecclesiastical  Architecture  of 

Italy. 
Gally-Kuiglit.     Saracenic  and  Norman  remains 

iu  Sicily. 
Gally-Kuiglit.     The  Normans  in  Sicily. 
Garucci.     Storia  della  arte  cristiaua  nei  primi 

otto  secoli  della  chiesa. 
Geymiiller   and   Widraann.      Architektur   der 

Renaissance  in  Toscaua. 
Grandjean  de  Montigny  and  Famin.     Archi- 
tecture toscauo. 
Griiner.     Terra-cotta  Architecture  of  Northern 

Italy. 
Gurlitt.     Geschichte  des  Barockstyls  in  Ital- 

ion. 
Hittorff  and   Zanth.      Architecture    moderne 

de  la  Sicile. 
Isabelle.     Italia  mouumentale. 
Lsalielle.     Renaissauce  Italieune. 
Laspeyres.      Bauwerke    der    Renaissance    in 

Umbrien. 
Laspeyres.     Kirchen  der  Renaissauce  in  Ital- 

ien. 
Lenormaut.     A  travcrs  I'Apulie  et  la  Lucauie. 
Mella.     Elementi  dell'  architettura  romano-bi- 

zantina,  detta  lombarda. 
Mitteliilterliche  Kunstdenkmiiler  des  Oester- 

reichischen  Kaiserstaates  (by  Heider,  Ei- 

telbnrger,  and  others). 
Mothes.     Baukunst  des  Mittelalfers  in  Italien. 
Norton.     Church  Buihliiig  iu  the  Middle  Ages. 
Osten.     Bauwerke  in  der  Lombardei. 
Paravicini.     L'architecture  de  la  Renaissance 

en  Lombardie. 
Pareto.     Italie  mouumentale. 
Peyer  im  Hot.     Renaissance  Architektur  Ital- 

iens. 
Planat.     Encyclopedic  de  l'architecture  et  do 

la  construction. 
Pullan.     Eastern  Cities  and  Italian  Towns. 
Quast.     Sammlung  der  vorziiglichsteu  Denk- 

maler  der  Architektur  in  Italien. 


Quicherat.  Melanges  d'archeologie  et  d'his- 
toiro. 

Redtenbacher.  Die  Architektur  dor  Ifalion- 
ischen  Renaissance. 

Ricci.     Storia  dell'  architettura  in  Italia. 

Rohault  de  Fleury.  La  Toscano  au  Jloyen 
Age. 

Ruhl.     Denkmaler  der  Baukunst  in  Italien. 

Ruhl.  Kirchen,  Paliiste  und  Khister  in  Ital- 
ien. 

Rumohr.     Italieuische  Forscliungen. 

Runge.     Backstein  Architektur  in  Italien. 

Runge  and  Rosengarten.  Architektouische 
Mittheilungen  liber  Italien. 

Salazaro.     L'Arte  romana  al  medio  evo. 

Salazaro.     Sicilia  artistica  o  archaelogica. 

Salazaro.  Studi  .sui  monumenti  dell'  Italia 
meridiouale. 

Schulz.  Denkmaler  der  Kunst  des  Mittelal- 
ters  in  Unter-Italien. 

Schlitz.     Die  Renaissance  in  Italien. 

Solvatico.     Le  arti  del  discgno  in  Italia. 

Serradifalco.     Le  antichita  della  Sicilia. 

Serradifalco.  Vedute  pittoresche  dei  monu- 
menti di  Sicilia. 

Strack.  Central  und  Ktippelkirchen  der  Re- 
naissance in  Italien. 

Strack.  Ziegelbauwerke  der  Renaissance  in 
Italien. 

Street.     Brick  and  Marble  in  the  Jliddle  Ages. 

Yitet.     Architecture  lombarde. 

Wiebeking.     Burgerlicher  Baukunde. 

Willis.  Remarks  on  the  Architecture  of  the 
Middle  Ages,  especially  of  Italy. 

//.  Speciid  Works  and  Monnrjraphs. 
(ArraDj:ed  iu  order  of  to\\'US.) 

A.SSISI. — Fratini.     San  Francesco.  Assisi. 

Perilli.     Relazione   storica   della   basilica 

degli  Angeli  presso  Assisi. 
Brescia. — Odorici.       Antichita     cristiane     di 

Brescia. 
Zaniboui.     Pubbliche   fabbriche   piu   iu- 

signe  di  Brescia. 
C.u>R.\RoLA. — Maccari.   II  Palazzo  di  Caprarola. 
Caseuta. — Vauvitelli.     Dichiarazione   dei   di- 

segni  del  reale  Palazzo  di  Caserta. 
Chi.\r.\v.\lle. — Cafti.     Dell'  Abbazia  di  Chiara- 

valle  in  Lombardia. 
Crv'iDALE. — Eitelberger.   Cividale  iu  Friaul  und 

seine  Mouumente. 


BIP.LloaUA  ruY 


Florexce. — Castelluzzi.     II   Palazzo   dotto  di 

Or  San  Michele. 
Cellesi.     Sei  Fabbiiche  di  Firenze. 
Dnrm.     Die  Domkuppel  iu  Florenz  und 

die  Kuppel  der  Peterskirche  zu  Kom. 
Francescliiiii.     Santa  Maria  del  Fiore. 
Frey.     Die  Loggia  dci  Lauzi  zu  Florenz. 
Guasti.     Santa  jNIaria  del  Fiore. 
Guasti.     La  Cupola  di    Santa  Maria  del 

Fiore  ilhistrata. 
Molini.     La  nietropolitana  tiorentiua. 
Moro.     La   faeeiata   di    Santa   Maria   did 

Fiore. 
Ozauam.     Saint  Croix  a  Florence. 
Richa.     Notizie  istoriclie  delle   cbiese  di 

Firenze. 
Reinliardt  and  Rasclidorfl".     Palast-Archi- 

tektur   von   Ober-Italien    nnd    To.scana 

(Tuscany  by  Kascbdorii). 
Kunge.       Glockeutburm    des    Doms    zu 

Florenz. 
Genoa. — Gautbier.    Les  plus  beaux  editices  de 

la  ville  de  Gene.s. 
Reinbardt  and  Rascbdorft'      Palast-Arcbi- 

tektur   von    Ober-Italien    und    Toscaua 

(Genoa  by  Reinliardt). 
Rubens.      Palazzi   antichi    e    moderui   di 

Gen  ova. 
GuBBlo. — Mella.     Palazzo  municipale  di  Gub- 

bio. 
Lucca.— Schmarsow.    San  Martino  von  Lucca. 

Scbmarsow.     San  Micbele  von  Lucca. 
Messina.— Roux  Aim'.    Charpente  de  la  catlie- 

drale  de  Messina. 
MiL.vN.— Aunali  della  Fabbrica  del  Duomo  di 

Jlilano. 
Artavia.     II  Duonio  di  Milano. 
Beltrami.     II  Castello  di  Milano  sotto  il 

dominio  degli  Sforza. 
Boito.     II  Duomo  di  Milano. 
Calli.     Cbiesa  di  San  Eustorgio. 
Cassina.     Le    I'abbriclie   piii    eospicue    di 

Milano. 
Landriani.      La    basilica    ambrosiaua    di 

Milano. 
Paravicini.      II    Palazzo    Marino   di   Mi- 
lano. 
Salte.     Auticlie  basiliche  di  Milano. 
Villardi.      Le    dome    de    !MiIau    (en    70 

Plancbes). 
MoDENA. — Roncaglia.     La  Cattodiale   di  ^lo- 

dena. 
MosREALE  — Gravina.     11  Duomo  di  Jlonreale. 


Serradifalco.     Del  Duomo  di  Monreale  e 
di  altri  eliiese  Sicolo-Xormano. 
Monte  Cassino.  — Tosti.     Storia  della  Badia  di 

Monte  Cassino. 
MoNTEi'ULCiANO. — Lambert.      Madonna   di    S. 

Biagio,  Montepulciauo. 
Orvieto.  —  Benois.     Mouograpbie  de  la  eatlu'- 
drale  d'Orvieto. 
Della  Valle.     Storia  del  Duomo  di  Orvieto. 
Fumi.     II  Duomo  di  Orvieto. 
Luzi.     II  Duomo  di  Orvieto. 
Padua. — Ghislandi.     La  Basilica  di   San  An- 
tonio di  Padova. 
Gouzati.     La  Basilica  di  San  Antonio  di 
Padova. 
PAliEKJio. — Becker   and   Forster.     Die  Catlie- 
drale  zu  Palermo. 
Buscemi.     La  Ijasilica  di  S.  Pietro  (Capclla 

Regia)  Palermo. 
Debli  and  ('bamberlain.     Norman  Monu- 
ments of  Palermo  and  Environs. 
Pakenzo. — Lolide.     Der  Dom  zu  Pareuzo. 
Pakma. — Lopez.     II  battistero  di  Parma. 

Odorici.     La  Cattedrale  di  Parma. 
Pa  VIA. — Beltrami.     La  Certosa  di  Pavia. 

Deir  Acqua.     La  basilica  di   S.   Michele 

Maggiore,  Pavia. 
Duvilli.     La  Certosa  di  Pavia. 
Noack.      Die   Certosa   bei    Pavia  (Photo- 
graphs). 
PiENZA. — Holzinger.     Pienza. 

Mayreder  and  Benda.     Pienza  aufgenom- 
men  und  gezeichnet. 
Pisa. — Cresy  and  Taylor.     Architecture  of  the 
Middle  Ages  in  Pisa. 
Grassi.     Fabbriche  principale  di  Pisa. 
Martini.     Les   grandes  editices   de    Pise. 

Notes  by  Lejeal. 
Rohault  de  Fleury.     Monuments  de  Pise 
au  moyen  age. 
R.iVENNA. — Qnast.       Altchristliche    Bauwerke 

von  Ravenna. 
Rimini. — Fossati.     Le  Temple  de  Malatesta  a 
Rinuni. 


Armellini.     Chiese  di  Roma  dal  Secolo  IV.  al 

XIX. 
Baltard.     Villa  Mcdicis  at  Academie  de  France 

u  Rome. 
Barbault.     Les  plus  beaux  edifices  de  Rome 

nioderne. 
Barbier.     Les  Eglises  de  Rome. 


Ill  ULIOGUAP  II  Y 


Boiuinui.     Templi  Vatioaiii  historia. 

Bouchet.     La  Villa  ria. 

(Jampiui.     Churches  of  Constantine. 

Oauiua.     Editizii  di  Eoma. 

Caterbi.     La  chiesa  di  San  Onofrio. 

Cresciboiii.     Basilica  di  S.  M.  in  Cosmedin. 

Dj  Augelis.     Bdsilicae  S.  Maiiae  Majoris  .  .  . 

desci'iptio. 
Diu-ni     Die  Domkiiche   in  Florenz   tmd  die 

Petersldrche  zu  Rom. 
FeiTeiio.     Palazzi  di  Eoma  de'  piu  colebri  ar- 

chitetti. 
Foutaua.     Kaccolta  delle  chiese  di  Roma. 
Fontana.     Templum  Vaticanum. 
Gerardi.     La  patriareale  basilica  liboriaua. 
GeymiUler.     Ui'.si.)runc;liclio  Eutwiirfo  fiir  die 

Peter.skirche  zu  Rom. 
Gutensohn  and  Kuapp.     Basiliken  des  Christ- 
lichen  Roms.     (Text  by  Bun.seu.) 
Jovanovitz.     Forschungeu  fiber  den  Bau  der 

Peterskirclie  zu  Rom. 
Letarouilly.     Edifices  de  Rome  moderne. 
Letarouilly.     Le  Vatican  at  la  basilique  de  S. 

Pierre,  etc.,  Rome. 
Montelatici.     Villa  Borghese. 
Mullooly.     San  Clemente. 
Muutz  and  Frothingham.     Te.soro  della  basil 

lea  S.  Pietro. 
Nicolai.     Basilica  di  S.  Paolo. 
Parasachi.     Racolta   delle  principale    fontaue 

di  Roma. 
Percier  and  Fontaine.     Maisons  de  jilaisance 

de  Rome  et  de  ses  environs. 
Percier  and  Fontaine.     Palais,  maisons,  et  au- 

tres  edifices  dessinds  a  Rome. 
Perrot.     Les  Catacombes  de  Rome. 
Pistolesi.     II  Vaticano  descritto  et  illustrato. 
Platner,  Biiuseu,  and  als.     Beschreibuug  der 

Stadt  Rome. 
Righetti.     Descrizione  del  Carapidoglio. 
Rohault   do  Fleury.     Le  Lateian   au   moyen 

age. 
Rondelet.     Etude  sur  la  coupole  du  Panthfion 

de  Rome. 
Rossi.      Basilica    di    San    Stefano    Rotoudo, 

Roma. 
Rossi.     Chiese  di  Roma. 
Rossi.     Fabbricbe  di  Roma. 
Rossi.     La  basilica  di  S.  Stefauo  Rotondo. 
Rossi.     Roma  Sotteranea. 
Rossini.     I  monumenti  i   piu   interessanti   di 

Roma. 
Strack.     Baudenkmiiler  Roms. 


Suardi.     Rovino  di  Roma  nel  XVI.  Secolo. 
Suys    and   Handebourg       Palais    Massimi   a, 

Rome. 
Suys.     Description  historiqnc  du  Panthc'ou  do 

Rome. 
Uggeri.     Basilica  di  S.  Paolo. 
Valentini.     La  patriarcale  basilica  lateranensa. 
Valentiui.     La  basilica  liberiana. 
Valeufini.     La  basilica  vaticamc. 
ToDi. — Laspeyres.     S.   M.  della  Consolazione 

zu  Todi. 
Turin. — Anderisio.     La  reale  basilica  di  Su- 
perga. 
Paroletti.      Description   historiquo  do  la 
basilique  de  Superga. 
Urbino. — Arnold.     Herzogliche  Palast  von  Ur- 

bino. 
Venice. — Boito.     La  basilica  di  S.  Marco  in 
Venezia.     (See  Ongania.) 
Cadorin.     II  palazzo  ducale. 
Cicognara.     Le  fabbriclie  piu  cospieue  di 

Venezia. 
Fontana.     Cento  palazzi  vcneziani. 
Giorni.    II  tempio  di  SS.  Giovanni  e  Paolo 

in  Venezia. 
Mothes.     Baiikunst  iiud   Bildhauerei  des 

Mittelalteis  in  Venedig. 
Nicoletti.     Chiesa  e  Scuola  San  Rocco. 
Ongania.     Les  princiiiaux  monuments  de 

Venise. 
Ongania.     S.  Marco.     (Text  by  Boita.) 
Peyer  im  Hof.     La  basilica  di  S.  Marco. 
Qnadri.     La  Piazza  S.  Marco. 
Rondelet.    Essai  historique  sur  le  Pout  du 

Rialto. 
Ruskin.     Stones  of  Venice. 
Selvatico.     Architettura  e  Scultura  in  Ve- 
nezia. 
Zanotto.     II  palazzo  ducale  di  Venezia. 
Veron.\. — Essenwoin.     Die  Kirche  Sta.  Auas- 
tasia  zu  Verona. 
Manara.     Antica   basilica   di   S.    Zenone, 
Verona. 
VicENZ.v. — Boni.     Vicenza  medievale. 

Magrini.     Sull  architettura  in  Vicenza. 
Magrini.     II  teatro  olimpico  in  Vicenza. 
Scamozzi.     L'Accademia  Olimpica  di  Vi 
cenza. 

C — Countries  E.\st  of  Itaia'. 

Couchand.     Eglises  byzantines  en  Grece. 
De  Vogiie.     Syrie  Centrale. 


BIB  Lloa  t!  A  BUY 

De  Vogiie.     Eglisos  de  la  Terre  Sainte.     (Cou-  L'Aicliitocture  Ottomann. 

suit  also,  for  the  buildings  at  Jerusalem,  Letbaby  and  Swainsou.     Sancta  Sofia. 

the  mouograplis  of  Willis,  Fergusson,  Ad-  Pulgbcr.      Les   auciennes   Sglises   byzantincs 

ler,  >Soi)p.)  de  Constantinople. 

Eitelberger.    MittelalterlicheKunstdenkmuler  Pullan.     Italian  cities  and  Eastern  towns. 

Dalmatiens.  Salzeubcrg.       Altcliristlicbe      Baudenlsmiiler 
Fossati.     Aya  Sofia,  ConstantiuoiJle.  Constantinopcls. 

Jackson.     Dalmatia,  Quarano  and  Istria.  Scbultz,   R.   W.      Byzantine   Arcliitecture   in 
Kanitz.     Serbien's  Byzantiuische  IMouiamente.  Greece. 

Labarte.     Palais  imperial  de  Constantinople.  Texier  and  Pnllau.     Byzantine  arcbitecture. 


GLOSSARY 


[Architectural  terms  are  used  by  cUfFerent  writers  with  much  latitude,  and  variety  of  meaning.  The 
glossary  does  not  assume  to  record  all  the  meanings  that  are  given  to  the  words  that  are  cited,  but  only 
such  as  are  used  in  this  book.] 


Abacus — a  flat  slab  which  forms  the 
top  of  a  capital  and  receives  its  load. 

AcROLiTHiC — said  of  a  statue  which  has 
head  and  extremities  of  marble,  but  ex- 
cept these  is  made  of  other  material. 

AcuoTERiuM — au  upright  terminal  or- 
nament placed  at  tiie  vertex  or  the  foot  of 
a  pediment. 

Adyti'm — a  shrine. 

Agora — -market  square  or  fcu'um. 

Aisle — a  long  division  of  a  building, 
bordered  by  columns  or  piers. 

Alm — wings. 

Ambo  (plural  amboues) — a  pulpit  or 
reading-desk  ;  one  of  a  jiair  set  on  each 
side  of  the  choir  of  an  early  church. 

Ambulatory — the  aisle  that  makes  the 
circuit  of  the  apse  of  a  church. 

Ajiphiprosty'LE — having  a  colonnade 
at  each  end.     See  Temple. 

Analemjiata — the  wing  walls  which 
flank  the  stage  of  a  Greek  theatre,  and 
against  which  the  end  seats  of  the  audi- 
torium abut. 

AxT.ii — pilasters  at  the  ends  of  the 
lateral  walls  of  a  Greek  temple  on  each 
side  of  an  opening.     See  Temple. 

AxTEFix^ — ornaments  set  along  the 
upper  member  of  a  classic  cornice,  com- 
monly in  the  form  of  anthemions. 

AsTHEMiox — a  radiating  leaf  ornament 
in  classic  art,  also  known  as  palmetto  and 
honey-suckle  ornament. 


Apodyterium — dressing-room. 

Apophyge — the  outward  curve  at  the 
top  or  bottom  of  a  classic  shaft  where  it 
Joins  the  base  or  capital.  Called  also 
conge. 

Apse — a  recess  in  the  wall  of  a  build- 
ing, larger  than  a  niche  and  showing  in  a 
projection  outside.  It  is  a  common  ad- 
junct to  churches.  It  is  better  to  limit 
the  word  to  round  or  polygonal  recesses, 
though  sometimes  a  square  projecting  bay 
is  called  an  apse.  A  Byzantine  apse  is 
round  within  and  polygonal  without. 

Arch — a  round  arch  is  a  semicircle  ;  a 
segment  arch,  less  than  a  semicircle  ;  a 
horseshoe  arch,  greater.  A  depressed  arch 
is  a  curve  lower  than  a  semicircle  ;  a  stilt- 
ed arch  is  raised  by  continuing  its  lines 
downward  vertically  so  that  it  is  higher 
than  a  semicircle.  Two  arcs  meeting  in  a 
point  at  the  crown  make  a  pointed  arch. 
A  ramjHiig  arch  has  one  foot  higher  than 
the  other.  A  bearing-arch,  discharging- 
arch,  or  relieving-arcli,  is  an  arch  built 
over  another  arch  or  a  lintel  to  relieve  it 
of  its  load. 

Architrave — the  beam  of  wood  or 
stone  which  spans  the  interval  between 
columns,  and  hence  the  lower  member  of 
a  classic  entablature  even  when  it  is  sup- 
ported by  a  wall  instead  of  columns.  (See 
Entablature.)  It  is  crowned  by  a  mould- 
ing, and  sometimes  divided   into   bands. 


GLOSSARY 


A  similar  biiiid  and  moulding  carried 
round  a  classic  door  or  window  repeivcs 
the  same  name.     Sec  Order. 

Akchivolt — an  architrave  bent  round 
an  arch. 

xVitcosoLii'M — an  arched  nielie  fen-  a 
sarcophagus  in  a  burial  chamber. 

Ashlar  —  masonry  of  squared  stones 
dressed  to  uniform  sizes,  uniformly  bond- 
ed and  faced. 

AsTR.iGAii — a  small  round  moulding, 
called  also  a  bead. 

Atrium — an  open  space  surrounded  by 
a  colonnade  or  arcade,  before  a  church  or 
within  a  classic  house. 

Attic  Base — a  classic  base  for  a  col- 
umn, consisting  of  two  toruses  with  a  sco- 
tia  between,  separated  l)y  small  fillets. 

Baldacciiixo — a  canopy  over  an  altar. 
See  also  Cihorium. 

Baroco.     See  Renaigmnce. 

Barrel-vault.     See  Vaults. 

Basilica — in  its  earliest  known  form 
a  Roman  building  used  as  an  exchange, 
and  for  magistrates'  courts.  It  commonly 
consisted  of  a  large  nave  enclosed  on  two 
sides,  and  sometimes  on  all  four,  by 
colonnaded  aisles.  The  aisles  were  some- 
times in  two  stories  :  the  nave,  which  was 
always  in  one,  rose  above  them  and  was 
lighted  by  a  clerestory.  There  was  often 
an  iv^se  at  one  end,  where  the  magistrate 
sat,  and  rarely  there  was  a  transept.  The 
Christian  Church  promptly  adopted  the 
basilica  as  the  typical  form  of  its  churches. 
The  colonnades  became  arcades,  the  side 
aisles  were  sometimes  doubled.  The 
doors  were  set  in  the  end,  usually  the 
west  end ;  the  more  important  basilicas  had 
at  the  other  end  a  transept  with  raised 
floor  set  apart  for  the  clergy  ;  the  apse  was 
lined  with  seats  for  the  higher  clergy,  the 
bishop's  throne  in  the  middle,  and  before 
it  was  the  high  altar  ;  transept  and  nave 
were  separated  by  a  great  ar(di  (;alled  the 
Triiimplial  Arch.  The  name  basilica  ad- 
heres  as  a  title  to  some  of  tlie  more  im- 


portant churches  of  Rome  which  have  lost 
their  basilican  form,  as  St.  Peter's,  St.  John 
Lateraii,  and  several  others. 

Bay — a  vertical  division  or  slice,  as  it 
were,  of  an  architectural  composition, 
marked  oil  by  jiillars,  buttresses,  piers, 
or  other  indications,  as  the  bays  of  a 
mediaeval  church.  The  Lombard  churches 
developed  a  system  of  double  bays  in 
whicJi  two  bays  in  the  aisles  correspond  to 
one  in  the  nave. 

Bearing-arch.     See  Arch. 

Bed  Mouldixg.     See  Order. 

Bema — a  tribune  for  public  notices  or 
sjjeeches  ;  also  the  sanctuary  or  place  re- 
served for  the  celebration  of  the  service  in 
a  Greek  or  early  Latin  church. 

Bouleteriox — council-house  (or  cham- 
ber). 

Broach  —  originally  a  spire  set  on  a 
tower  without  intervening  parapet  or  pin- 
nacle. A  broach-spire  has  come  to  signify 
an  octagonal  spire  set  on  a  square  tower 
where  the  angles  of  the  tower  are  cov- 
ered by  triangular  pyramids  leaning  back 
against  the  diagonal  faces  of  the  sjiire. 

Broletto — a  North-Italian  town-hall. 

BucRAXiA — ox -skulls  carved  on  the 
frieze  of  a  temple. 

Byzaxtixe — the  style  of  art  devel- 
oped under  the  Greek  Empire  from  tiie 
V  cent,  to  the  xiv.  The  most  conspicu- 
ous feature  of  its  architecture  is  the  dome 
on  pcndcntives  over  a  square  area,  of  which 
the  most  important  example  is  Sta.  Sofia 
at  Constantinople.  This  style  substituted, 
like  the  Romanesque,  the  arcade  for  the 
colonnade,  affected  the  Greek  cross  in  its 
cluirch  jjlans,  and  perfected  and  used  in 
great  profusion  the  decoration  of  walls 
and  vaults  with  pictorial  mosaic. 

Cald.vrium — the  hot  room  or  sweating- 
room  of  a  Roman  bath. 

Ca.mpaxile — an  Italian  bell-tower. 

Capital.  For  classic  capitals  see  Or- 
der. A  Composite  capital  (witli  a  capital 
letter)  is  a  capital  of  the  Composite  order; 


GLOSSARY 


Ijut  ;i  c"4)il;il  is  S()inelimi!S  called  composite 
when  it  is  classical  in  style,  yet  cannot  be 
assigned  to  any  order.  The  cubic  capital 
is  of  Lombard  origin,  a  cubical  block, 
with  its  lower  corners  usually  rounded  off 
to  meet  the  shaft.  A  cushion-capital  is 
the  same  capital  more  cut  away  from  its 
shape  at  the  bottom,  and  more  decorated. 
A  crocket-capital  is  one  whose  bell  is  dec- 
orated with  crockets,  and  is  the  Gothic 
analogue  of  the  Corinthian. 

Cavea — the  auditorium  of  a  Ivonian  or 
Greek  theatre,  forming  part  of  a  circle  or 
oval,  and  hollowed  to  a  funnel  shape, 
whence  its  name. 

Cell  A — the  enclosed  p;irt  of  a  Greek 
or  Roman  temple. 

Channels — longitudinal  hollows  cut 
in  the  surface  of  a  Doric  column.  They 
differ  froni  flutes  [q.  v.)  in  not  having  any 
fillets  or  flat  strips  between  them. 

Che  VET  —  the  French  name  for  the 
chancel  or  sanctuary  at  the  east  end  of  a 
church.  The  French  chevet  usually  but 
not  always  consists  of  a  round  or  poly- 
gonal apse  girt  with  an  aisle  and  a  series 
of  radiating  chapels. 

Choir  —  the  space,  usually  enclosed, 
which  is  reserved  for  the  celebration  of  the 
service  in  a  church. 

CiBORiUM — a  canojjy  over  a  high  altar 
of  a  church,  later  called  a  baldacchiuo. 

CixcjuEFOiL.     See  Foil. 

Clekestoky — the  upper  part  of  a  wall 
or  nave  when  it  rises  above  aisles  or  wings 
and  is  lighted  by  windows. 

Cloistek — an  open  court  lined  with 
arcaded  galleries  in  a  convent.  The  name 
is  often  given  to  the  galleries  themselves. 

Cloistered  Vault.     See  Vaults. 

Coffer — a  deep  sunken  panel  in  a  vault 
or  ceiling. 

Composite.     See  Order. 

Conch — a  semi-dome  over  a  niche  or 
apse. 

CoNFESsio  —  a  recess  under  the  higli 
altar  of  an  early  chui'ch  to  receive  the  body 
or  relics  of  a  saint. 


Cuubel — a  solid  bracket  supporting  a 
ccn-nice,  string-course,  shaft,  or  other  feat- 
ure in  mediaeval  architecture. 

Cokintuian.     See  Order. 

CoRNicciONE — a  principal  cornice  at 
the  top  of  a  facade. 

Cortile — a  courtyard  or  interior  court 
in  Italian  architecture. 

Cove — a  half- vault,  leading  up  into  a 
flat  ceiling. 

Ckepidoma — the  platform  or  stereobate 
of  a  temple. 

Cressets — iron  baskets  set  up  to  hold 
lights,  as  for  beacons. 

Crocket  —  an  upright  Gothic  leaf, 
curling  outward  at  the  tip,  and  ending  in 
a  knob  or  bunch  of  leaflets.  It  is  used 
on  capitals,  and  ou  the  ascending  ribs  of 
pinnacles,  gables,  etc. 

Cross-rib.     See  Vault.'!. 

C'ROWN-MorLDixr;.     See  Order. 

Cruciform  Church — one  in  which  the 
nave  and  transejjt  intersect,  making  a 
four-armed  cross,  in  which  all  four  arms 
are  usually  marked  off  by  arches. 

Cunei — the  wedge-shaped  groups  into 
which  the  seats  of  a  theatre  or  amphi- 
theatre are  divided  by  radiating  passages. 

Cushion-capital.     See  Ciipifal. 

Cusp — the  sharp  angle  of  two  meeting 
curves.     See  Foil. 

Cyma — a  reversed  curve  or  wave-line,  or 
a  moulding  in  that  form.  The  Cyma 
Recta  is  horizontal  at  top  and  bottom,  the 
Cjmia  Reversa,  called  also  the  Lesbian 
Cyma  or  talon,  is  vertical  at  top  and  bot- 
tom. 

Cymatium.     See  Order. 

Decastyle.     See  Temple. 

Dentils — small  square  blocks  used  in 
a  series  as  decorations  for  a  cornice  or 
string-course. 

Diaconicon — one  of  the  two  small 
chambers  which  flank  the  chief  apse  of  a 
Greek  church.     See  also  Prothesis. 

DiAGONAL-RiB.     See  Vaults. 

DiAZOJi.^ — the  Greek  term  for  a  hori- 


GLOSSARY 


zontal  encircling  passiifrc  between  the  scuts     gatiiicr  tlie  shaft  of   a  column.   difTcring 
of  a  theatre — a  jjreciuction. 

Dipteral.     See  Temple. 

DiscnARGiXG-ARrir.     See  Arch. 

DoKic     See  Order. 

Dkomos — a  straight  entrance-passage,  as 
for  the  runners  in  a  stadium. 

Drum — the  ring-wall  on  which  a,  dome 
stands. 

DroMo — an    Italian  name  for  a  cathe- 
dral. 


EcHEA — acoustic  vessels,  described  by 
Vitruvius.  and  set  about  the  auditorium 
of  a  theatre. 

EcHiXL'.s — the  convex  moulding  which 
supports  the  abacus  of  a  Doric  capital. 
See  Order. 

Edicule — a  little  building. 

Empor — the  German  name  for  an  up- 
per aisle  or  gallery  in  an  early  church, 
afterward  replaced  by  the  triforium. 

Engaged  Columns  —  columns  set 
against  a  Avall  or  })ior  so  as  to  seem  par- 
tially embedded. 

ExTABLATUKE.     See  Order. 

Entasis — the  convexity  or  swelling  in 
the  middle  of  the  shaft  of  a  classic  column. 


from  tlie  chancel  of  a  Doric  column  only 
in  being  separated  from  its  neighli(jr  liv  a 
fillet. 

Foil — the  lobe  of  a  cusped  circle  or 
jianel.  A  figure  of  three  lobes  (like  a 
clover  leaf)  is  called  a  trefoil,  of  four  a 
quatrefoil,  of  five  a  cinquefoil,  etc. 

Foliated — decorated  with  leaves. 

Fret.     See  Meander. 

Frieze — the  member  between  the  archi- 
trave and  cornice  of  an  entablature.  See 
Order. 

(ioTiiii' — this  word  is  sometimes  u.sed 
to  cover  the  whole  of  mediaeval  architec- 
ture. In  this  book  it  is  used  in  its  com- 
moner and  narrower  meaning,  of  the 
pointed  style,  so-called,  which  prevailed 
in  Europe  from  the  xiii  cent,  to  the  xvi 
cent.,  expanding  and  developing  the  forms 
of  the  Romanesque,  chiefly  by  means  of 
the  ribl)ed  vault,  the  jiointed  arch,  and  a 
different  style  of  decorative  detail.  It  was 
brought  into  Italy  in  its  earlier  and  purer 
forms  by  the  Cistercian  monasteries  of 
central  Italy,  and  in  its  later  by  German 
influence  iu  northern  Italy,  where,  espe- 


Epinaos — the  rear  vestibule  of  a  tem-     cially  in  Venice,  it  took  on  a  shajje  quite 


pie.     Cf.  ophfJioddiiins. 

Epistyle — the  Greek  name  for  an  ar- 
chitrave over  columns. 

Exedr.\.  —  originally  a  council-room. 
Then  a  seat  carried  round  a  central  sjiace 
as  if  for  council,  and  for  monumental  uses 
a  seat  lining  an  apse  or  niche. 

EXTR.A.DOS  —  the  upper  convex  surface 
of  an  arch,  usually  loadiMl  with  masonry. 
Cf.  Infrndo.i. 

Facade — the  main  front  of  a  building. 

Fa.scia — a  flat  band  among  mouldings, 
wider  than  a  fillet. 

Fauces — a  narrow  eiitiMuce  inissage  or 
connecting  passage  in  a  building. 

Fillet — -a  flat  sijuare-edged  strip  used 
among  mouldings,  called  also  a  listel. 

Flute  —  a,   loniritudinai    hollow   corru- 


different  from  the  original. 

(iRADiNATA — the  steps  or  benches  in 
the  auditorium  of  a  theatre  or  amiijii- 
theatre. 

Groin.     See  Vaiillx. 

GuiLLOCiiE  —  a  continuous  flat  orna- 
ment, formed  of  interwoven  bands  of  fil- 
lets leaving  round  interstices  which  are 
usually  filled  with  rosettes. 

GuTT.E  (drops) — small  protuberances, 
like  jiegs  driven  up  into  the  mutules 
or  reguliB  of  the  Doric  entablature.  See 
Order. 

(i VN.ECKUM — the  women's  quarters  in 
a  Greek  house.  A  woman's  gallery  in  an 
early  chuiTJi.     Cf.  Einpor. 

IIkaders — bricks  or  stones  laid  across 
a  wall  so  tiiat  onlv  tlic  cuds  show. 


GLOSSARY 


IIkxastylk.     See  Temple. 

Hood  Moulding — a  raised  moulding 
encircling  the  outside  of  an  arch  or  arched 
window. 

IlYi'-ETHRUM — that  part  of  the  inte- 
rior of  a  temple  or  other  classic  building 
wliifh  was  open  to  the  sky,  or  lighted 
directly  from  it.  A  hypa^tliral  temj^Ie 
was  one  which  had  a  hyi3a3thrum  ;  but 
there  is  much  conflict  among  archaeolo- 
gists as  to  how  this  was  arranged;  or  even 
whether  there  were  any  such. 

Uypocau-stum — a  space  contrived  for 
heating  the  under  side  of  a  floor. 

Hyposcexiox — the  front  of  a  stage- 
platform  in  a  theatre. 

IcONOSTASis — a  close  screen  before  the 
choir  in  a  Greek  church,  corresjjonding  to 
the  rood-screen  of  an  English  church  and 
the  jube  of  a  French  church. 

Imi'LUVIL'M  —  a  depression  to  receive 
rain-water  in  the  court  of  a  Greek  or 
Koman  house. 

Impost — the  level  where  an  arch  rests 
on  its  vertical  support.  It  is  usually 
marked  by  a  block,  plain  or  moulded,  and 
this  block  is  itself  often  called  the  impost. 

Intrados — the  under  concave  surface 
or  soffit  of  an  arch.     Cf.  Extrados. 

loxic.     See  Order. 

LsoDOMic — built  of  uniform  stones,  and 
bonded  like  a  common  brick  wall  of 
stretchers. 

JoGOLED — notched  together  to  prevent 
slipping. 

Jibe — the  rood  -  screen  in  a  French 
church.     Cf.  Iconostasis. 

Label— a  projecting  moulding  which 
surrounds  the  upper  part  only  of  a  door 
or  window  opening,  a  hood-moulding. 

Lacoxicum — a  hot-batli  chamber. 

LACuifAR — a  coffer  in  a  ceiling. 

Lancet — a  tall  narrow  pointed  window. 

Lararitji — a    chapel    or   shrine    in   a 


Ivomau  house  containing  the  effigies  of 
the  Lares  or  household  divinities. 

Latin — the  Latin  form  of  church  is 
tlie  early  basilican,  developed  in  the  time 
of  Constautine  (beginning  of  the  iv  cent.) 
or  earlier,  and  used  in  and  about  Rome  till 
the  XII.  It  is  not  properly  cruciform, 
but  T-shaped,  having  no  eastern  arm  ;  the 
nave  does  not  penetrate  tlie  transejit,  but 
abuts  against  it. 

Lintel  —  a  horizontal  beam  covering 
an  opening. 

LocuLUS— a  recess  in  a  wall. 

LoGEiON — a  box  of  a  classic  theatre. 

Loggia — a  recessed  gallery. 

Lombard — the  style  of  the  early 
churches  of  northern  Italy,  so  called  be- 
cause it  was  believed  to  have  been  intro- 
duced and  develojjed  under  the  Lom- 
bard kingdom,  but  really  later  than  that 
kingdom.  It  was  a  form  of  Romanesque, 
characterized  by  cruciform  plans,  the  early 
application  of  vaulting,  clustered  piers, 
the  system  of  double  bays  in  which  the 
two  bays  of  the  aisles  corresijond  to  one  of 
the  nave,  and  an  exterior  decoration  with 
jjilaster-strips,  arched  corbel-tables,  eaves- 
galleries,  and  vaulted  porches  borne  by 
lions.  It  owed  its  character  to  German 
influences,  and  was  much  the  same  as  the 
monastic  style  which  was  developed  simul- 
taneously in  mid-Germany. 

Lunette — a  wall-arch  cutting  into  a 
vault  or  cove,  and  often  filled  with  a  half- 
round  window.  Such  a  window  is  some- 
times called  a  lunette. 

Machicolations — holes  between  brack- 
ets in  the  soffit  of  an  overhanging  cornice, 
left  open  for  the  i^urpose  of  dropjjing  mis- 
siles, hot  pitch,  or  the  like,  upon  an  at- 
tacking enemy.  The  term  is  sometimes 
confusedly  ai)plied  to  the  brackets  which 
support  the  cornice. 

Matroneo — a  woman's  gallery.  Cf. 
Gi/iueceiim. 

Meander — a  wavy  lino  or  scroll,  con- 
tinuallv  reversing;,    in  (J reek  decoration  ; 


GLOSSARY 


■when  the  loops  of  tlie  meander  are  made 
of  broken  straight  lines  it  is  called  a 
fret ;  the  words  are  often  carelessly  inter- 
changed. 

Merloxs — the  solid  ujiriglit  t-labs  of  a 
battlemented  parajiet. 

Meta — the  monument  which  marked 
the  goal  or  turning  point  of  the  race- 
course in  a  circus.  It  was  commonly  an 
obelisk  or  group  of  obelisks  set  on  the 
spina. 

Metope.     See  Order. 

Mezzaxixe — a  half-story  between  two 
full  stories,  loosely  applied  also  to  a  half- 
story  above  a  full  story. 

MiUKAB — a  prayer-niche  in  a  mosque. 

MiJiBAR — a  pulpit  in  a  mosque. 

MoDiLLiON — tlie  liraeket  of  a  Corin- 
thian cornice. 

MuLLiOX  —  an  npriglit  bar,  often  a 
sliaft,  dividing  a  window. 

Mutule.     See  Order. 

Xarthex — a  porch  or  autc-room  across 
the  front  of  a  church,  used  in  the  early 
Church  by  the  catechumens  or  others 
who  were  not  allowed  to  enter  the  body 
of  the  church. 

Naumacuy— a  mock  naval  battle  ;  also 
the  arena  in  which  such  a  battle  was  held. 

Xave — the  chief  and  central  aisle  of  a 
church,  wider  than  the  rest  and  usually 
liigher. 

Nook-shaft — a  shaft  set  in  a  rectan- 
gular recess  or  nook. 

Nymph .iu"M — a  shrine  or  chamber,  fre- 
quently subterranean  or  lialf  subterranean. 
dedicated  to  nymphs  and  suj)plicd  witii 
running  water. 

OcTOSTYLE.     See  Tinnplc. 

OcuLUS — a  small  round  window. 

Odeum — a  small  theatre  under  roof,  for 
music. 

CEcus — the  state  chamber  of  a  Honum 
house. 

Ogee — a  reversed  curve.     See  Ci/nia. 

OiiPHALos  —  u    sacred    stone    in     the 


temple  of  Apollo  at  Delphi,  believed  to 
mark  the  centre  of  the  world. 

Upisthodojios.     See  Temple. 

Opus  Alexaxdrinum  —  mosaic  made 
of  pieces  of  natural  marble  or  stone  cut  to 
shape  and  laid  in  a  decorative  pattern  ; 
called  also  ojius  sectile,  used  almost  exclus- 
ively for  floors. 

Opus  Incertum  —  uiuoursed  masonry 
or  rubble. 

Opus  (^uadkatum — squared  masonry. 

Opus  Reticulatum  —  masonry  faced 
with  small  squared  stones  set  cornei--wise 
so  as  to  show  diagonal  joints. 

Opus  Sectile.  See  Opux  Alexandri- 
niiiii. 

Opus  Sigxixum — a  strong  h3draulic 
cement  used  for  lining  aqueducts  and 
other  like  jjurposes. 

Order — the  unit  of  classic  architec- 
ture, comprising  the  column  audits  entab- 
lature, and  called  Tuscan,  Doric,  Ionic,  Co- 
rinthian, or  Composite,  according  to  its 
details.  The  column  consists  of  base, 
shaft,  and  capital.  The  entablature  com- 
prises the  Architrave  or  lintel,  which  rests 
upon  the  columns  and  is  cut  in  one,  two, 
or  three  flat  bands,  its  toji  marked  by  a 
projecting  moulding ;  the  Frieze,  a  high 
baud  either  plain  or  decorated ;  and  the 
projecting  Cornice,  sujjported  by  its  Bed- 
moulding  and  sometimes  by  brackets,  and 
ending  in  a  Cymatium  or  Crown-mould- 
ing. The  Doric,  Ionic,  and  Corinthian 
orders  are  both  Greek  and  Roman,  though 
the  Corinthian  was  fully  dcvelojjed  only 
under  Roman  influence.  The  (ireek 
Doric  is  heavy  and  nuissive  :  it  has  no 
base,  a  channelled  shaft,  and  a  capital 
with  a  heavy  square  al)acus  supporteil 
liy  an  oval  moulding  called  the  Echi- 
nus. Its  frieze  is  decorated  with  flat 
cluiunelled  blocks  called  Triglyphs,  whose 
feet  seem  to  overhang  the  architrave  in 
small  horizontal  liars  called  Reguhv,  dec- 
orated with  drops  or  Guttse,  and  between 
wliii-h  are  square  panels  called  Metopes, 
often  charged  with   scu^jture.     The  over- 


GLOSSAKY 


hang  of  the  coruice  carries  a  Hat  block 
called  a  ilutule  over  each  triglyjih,  whose 
surface  is  studded  with  Guttie.  The 
Roman  Doric  is  lighter.  The  columns 
have  a  base ;  the  architrave  is  lower 
and  the  frieze  higher.  The  Ionic  has  a 
fluted  column  and  a  capital  with  large 
scrolls  or  Volutes  at  the  corners  and  an 
echinus  under  them,  a  frieze  plain  or 
charged  with  continiious  sculpture,  and  a 
cornice  ixsually  with  dentils.  The  Corinth- 
ian has  a  fluted  column,  a  high  capital  sur- 
rounded by  two  ranges  of  acanthus  leaves 
with  small  volutes  at  the  corners,  a  frieze 
like  the  Ionic,  and  a  cornice  enriched  with 
dentils,  brackets  called  Modillions,  and 
carved  mouldings.  The  Tuscan  and  Com- 
posite are  Roman  only.  The  first  is  a  sim- 
plified Doric,  without  channels,  triglyphs, 
or  mutules  ;  the  second  a  somewhat  sim- 
plified Corinthian,  its  heavier  capital  car- 
rying larger  volutes  and  an  echinus  like 
the  Ionic.  Often  an  order  stands  on  a 
pedestal-course  or  stylobate.  (See  Figs, 
■i-i,  'Jl,  133,  18-i.) 

Palestra — a  place  for  wrestling  —  a 
wrestling-school. 

Pallauiax  window — a  group  of  three 
openings  separated  by  columns  or  pilas- 
ters, the  middle  one  arched  and  the  lateral 
ones  square-headed.  This  has  been  called 
also  the  Palladian  Motive. 

Pakodoi — side  entrances  to  the  audi- 
torium of  a  Greek  theatre,  nest  the  stage. 

Parvis — an  open  space  or  yard  in  front 
of  a  church. 

Patera — a  round,  flat,  carved  flower, 
used  as  an  architectural  ornament. 

Pedimext — the  gable  of  a  classical  or- 
der or  building.  It  has  invariably  a  hor- 
izontal cornice  joining  the  feet  of  the  rak- 
ing cornices. 

Pendejttive  —  a  kind  of  cove  cover- 
ing the  corners  of  a  square  area,  so  as  to 
leave  only  a  circular  or  polygonal  space 
unroofed.  It  is  commonly  a  piece  of 
vaulting,    in   shajie  a   sjiherical    triangle. 


resting  on  the  flanks  of  two  arches  on 
adjoining  sides  of  the  square,  and  lead- 
ing u^i  from  the  angle  to  a  ring  which, 
supported  by  the  four  pendentives  carries 
a  dome  (or  its  drum)  that  covers  the 
central  circle,  so  that  the  whole  may  be 
borne  on  four  piers  at  the  corners.  {See 
Fig.  106.) 

Peperixo — a  hard  granular  volcanic 
stone. 

Pergola — the  groups  of  windows,  or 
arcade,  opening  on  a  Ijalcony,  which  forms 
the  central  feature  in  the  fronts  of  most 
Venetian  palaces. 

Peribolos — the  walled  court  in  wliich 
a  temjile  stands. 

Peripteral.    See  Temple. 

Peripteros — a  colonnade  surrounding 
a  building. 

Peristyle — a  colonnade  about  a  build- 
ing or  a  court. 

PiAXO  xobile — the  chief  story. 

Pilaster — a  rectangular  pillar  in  clas- 
sic style,  usually  engaged  in  a  wall. 

PisciXA— a  basin. 

Plixth — the  lower  flat  upright  mem- 
ber of  a  group  of  mouldings  at  the  base  of 
a  column  or  wall. 

Podium — the  lower  division  of  a  wall, 
or  basement. 

Precixctiox — a  horizontal  passage  or 
circuit  among  the  seats  of  a  theatre  or 
amphitheatre,  the  Greek  diazoma. 

Presbytery  —  that  ijart  of  a  church 
which  is  occupied  by  the  priests  during  ser- 
vice— usually  applied  to  the  early  churches. 

Proxaos.     See  Temple. 

Propyl^tm  (plural,  Projiylaja)  —  a 
monumental  colonnaded  gateway,  as,  for 
instance,  that  of  the  Acropolis  at  Athens. 

Propylox — an  advancing  structure  cov- 
ering or  flanking  a  gateway. 

Prostyle — applied  to  a  temple  which 
has  a  portico  at  one  end.     See  Temple. 

Prothesis  :  One  of  the  two  small  rooms 
like  sacristies  that  flank  the  main  aj)se  of 
an  early  Byzantine  church.  See  also  Dia- 
conicon. 


GLOSSARY 


Pteroma — tlio  colonnaded  gallerv  that     site,  as   in   aisles  of  clmrrhes  ;  hence   its 


surronnds  the  cella  of  a  peripteral  temple. 

Purlin  —  a    horizontal    cross  -  timber 
which  supports  the  rafters  of  a  roof. 

Pycxostyle — having  columns  set  very 
near  together. 

Pylox — a  gate-house. 
pylon. 

Py'rgos — a  bastion. 


See  also  Tetra- 


QuATREFOiL.    See  Foil. 

Quoixs — contrasting  cut  stones  which 
form  the  angle  of  a  wall  of  brick  or  stone. 
They  are  often  simulated  in  brickwork. 

Ea.mp — an  ascending  line  of  stairway. 

Eegul.e.     See  Order. 

Renaissance — the  name  given  to  the 
revival  of  classic  forms  in  art  which  fol- 
lowed the  revival  of  classic  literature,  and 
in  the  course  of  the  xv  and  xvi  cents, 
changed  the  whole  aspect  of  art  in  Eu- 
rope. The  Kenaissance  in  architecture 
began  in  Italy,  in  the  middle  of  the  xv 
century.  In  its  earliest  phase,  which  is 
sometimes  sjioken  of  7J«r  excellence  as  the 
Renaissance,  it  showed  itself  in  the  free 
application  of  classic  detail  to  mediaeval 
forms.  In  the  xvi  cent.,  the  period  of 
what  Germans  liave  called  the  High  Re- 
naissance, there  was  a  minute  study  and 
loyal  adaptation  of  all  tlie  forms  of  Roman 
architecture  to  new  buildings,  which  be- 
came purely  classical  in  proportions  and 
detail.  By  the  middle  of  the  xvii  cent.. 
Renaissance  arcliiteeture  had  degenerated 
into  what  is  called  baroco,  or  baroque,  in 
which  purity  of  form  and  detail  is  sacri- 
ficed to  picturescpie  eifect ;  and  in  the 
course  of  half  a  century  more  this  had 
passed  into  the  so-called  rococo,  in  which 
there  prevailed  a  wild  perversion  and  cor- 
ruption of  architectural  features,  small 
and  great. 

Reredos — an  architectural  screen,  or 
facing  of  a  wall,  behind  an  altar. 

Respond — a  half  pillar  set  against  a 
wall,    corresponding    to    a    ])illar     oppo- 


name. 

Reticulated.    Of.  Opua  ReticHlatum. 

Revet — to  encase  a  rough  wall  with  a 
smooth  facing  of  masonry  or  slabs. 

Rib.     See  Vaults. 

Ringhiera — an  outside  balcony  used 
for  public  proclamations. 

Rococo.     See  Eenaissance. 

Romanesque  —  a  name  given  to  the 
style  of  architecture  which  in  western 
Europe  followed  the  decay  of  the  classic 
styles,  beginning  obscurely  in  the  vi  or 
vii  century.  It  abandoned  the  classic 
orders,  substituted  the  arcade  for  the  col- 
onnade, and  was  the  nurse  of  the  typical 
mediajval  forms  of  church-building  in  the 
west,  which  it  developed  out  of  the  Roman 
basilica,  evolving  a  consistent  system  of 
vaulting,  and  furnishing  most  of  the  feat- 
ures which  in  altered  shape  were  charac- 
teristic of  the  Gothic  architecture  that 
followed  it  in  the  xiii  century. 

Rood  Screen — the  English  mime  for  a 
screen  which  cut  off  the  choir  of  a  church 
from  the  nave,  and  which  carried  a  raised 
cross  called  the  Rood.  It  corresponds  to 
the  Greek  Iconostasis. 

Roundel — a  round  panel,  usually  con- 
taining sculpture. 

Rustic  or  rusticated  masonry  is  cut  in 
squared  projecting  blocks,  whether  smooth 
or  rough -faced,  with  the  joints  deeply 
channelled. 

Scotia — a  hollow  moulding  whose  sec- 
tion is  the  half  or  more  of  a  circle  or  oval. 

Sekos — the  inner  chamber  or  sanctu- 
ary of  a  Greek  temple. 

Sgraffito — an  ornament  wrought  in 
plaster,  after  the  manner  of  a  cameo,  cut- 
ting through  or  scraping  off  an  outer  layer 
and  exposing  an  inner  layer  of  a  different 
color. 

Soffit  —  the  under  side  of  an  arch, 
beam,  or  horizontal  member. 

Spandrel — the  triangular  sjiace  over 
the  Hank  of  an  arch. 


GLOSSARY 


SriiESDONK — the  spinicirciilar  piid  oi' 
a  stadium  or  circus. 

Spiieuistekiox — a  court  for  hall-play- 
iuj;'. 

Spin'.x.  —  tlie  longitudinal  wall  which 
divides  the  direct  course  from  the  return 
course  in  a  hippodrome,  circus,  or  sta- 
dium. 

Squixciies — arches  which  bestride  the 
corners  of  a  square,  cutting  it  down  to  an 
octagon,  to  carry  a  dome  or  drum. 

Stadium  :  A  course  for  runners. 

Stele — an  upright  slab,  commonly  used 
for  a  funeral  monument,  and  carved. 

Stereobate — the  foundation  -jjlatform 
of  a  temple  or  other  classical  building. 

Stilt-block — a  block,  usually  mould- 
ed, set  between  the  abacus  of  a  column 
and  the  arch  which  it  bears. 

Stoa — an  open  colonnaded  poi'tieo. 

Stketcheks — bricks  or  stones  laid 
lengthwise  in  a  wall. 

Stking-coukse — a  carved  or  moulded 
course  which  divides  a  wall  horizontally. 

Styloisate — the  architectural  member 
on  which  a  colonnade  rests  ;  thus,  in  Greek 
architecture  the  upper  step  of  the  stereo- 
bate  of  a  tem^ile  ;  later,  a  low  wall  carrying 
a  colonnade,  and  usually  finished  with  a 
moulded  base  and  caiJjjing  ;  still  more  gen- 
erally, by  analogy,  the  lower  division  of  a 
wall,  finished  like  the  stylobate  of  a  colon- 
nade. 

Sudatorium  —  the  heated  room  of  a 
bath,  used  for  sweating.     Cf.  Caldarium. 

Tablixum — the  family-room  of  a  Ro- 
man house,  where  family  records  and  por- 
trait busts  were  kept. 

Tambour — the  drum  which  carries  a 
dome. 

Temexos — the  sacred  enclosure  about 
a  Greek  temple  or  temples. 

Temple — The  usual  plan  of  a  classical 
temple  was  an  oblong  rectangle.  It  con- 
sisted of  a  closed  building  called  the  cella, 
more  or  less  surrounded  by  jjorticoes. 
The  heart  of  the  cella  was  the  Naos  ;  at  the 


front  end  was  usually  an  ojien  vestibule 
called  the  Pronaos,  and  in  the  rear  often 
a  small  corresponding  room,  sometimes 
accessible  only  from  without,  called  the 
Opisthodomos,  or  Posticum.  The  project- 
ing ends  of  the  side  walls  of  the  cella  were 
faced  with  jjilasters  called  Antaj,  and  col- 
umns set  between  these  are  said  to  be  hi 
ant  is,  a  designation  which  is  often  extended 
to  the  temple  so  built  itself.  The  temjiles 
commonly  fronted  east  with  the  long  sides 
facing  north  and  south.  They  were  always 
roofed  with  a  ridge,  and  crowned  at  each 
end  with  pediments,  which  commonly 
overhung  at  one  end  at  least,  supported 
by  colonnades  and  forming  open  porticoes. 
A  temple  with  a  portico  at  one  end  was 
called  prostyle  ;  at  both,  am^jhiprostyle. 
One  surrounded  by  a  colonnade  was  perip- 
teral, and  the  colonnade  became  a  peri- 
style. When  the  columns  were  in  a  double 
range  all  round,  the  temple  was  dipteral ; 
it  was  pseudo-dipteral  when  the  columns 
were  spaced  as  for  a  dif)teral  tem23le,  but 
with  the  inner  range  suppressed,  and 
pseudo-peripteral  when  the  peristyle  was 
engaged  in  the  side  walls  of  the  cella. 
There  were  also  round  temples,  surround- 
ed by  a  colonnade.  AV  hen  these  had  a 
cella  they  were  peripteral  :  when  they 
were  open  they  were  moiiopteral.  Tem- 
ples are  also  classed  according  to  the  num- 
ber of  columns  in  the  end  iiorticocs  ;  when 
these  are  four,  the  temple  is  tetrastyle  ; 
when  six,  hexastyle  ;  when  eight,  octo- 
style  ;  when  ten,  decastyle,  the  number 
being  always  even,  except  in  very  rare  in- 
stances. 

Tepidarium — a  warm  room  of  a  bath. 

Tetrapylox — a  gate- way  penetrated 
by  two  intersecting  passages,  and  showing 
arches  on  four  faces. 

Therm-E — public  baths. 

Tholos  —  a  small  round  building  in 
Greek  architecture. 

Thymele — a  small  altar  to  Dionysos  in 
the  middle  of  the  orchestra  of  a  Greek 
theatre. 


GLOSSARY 


TORl'S — an  anniiLir  moulding  of  semi- 
circular section  ;  a  roll  moulding. 

Tkacery  —  the  open-work  filling  of  a 
window,  archway,  or  otlier  opening.  It  is 
usually  composed  of  intersecting  bars  of 
stone  or  other  material ;  but  sometimes  is 
a  perforated  slab,  in  which  case  it  is  called 
plate -tracery.  In  most  cases  it  is  con- 
fined to  the  arch  itself,  or  the  upper  part 
of  the  opening,  and  supported  below  by 
upright  bars  called  mullions. 

Transept — the  cross-wing  of  a  basilica 
or  church.  The  two  arms  constitute  one 
transept,  but  are  often  spoken  of  as  north 
and  south  transepts.  Tliere  are  a  few 
clinrches  which  have  actually  two  tran- 
septs. 

TRAXS05I  —  a  horizontal  bar  across  a 
window. 

Trefoil.     See  Foil. 

Triclinium  —  the  dining-room  of  a 
Greek  or  Roman  house. 

Triforrtm — an  arcade  pierced  in  the 
nave  wall  of  a  church  above  tJie  principal 
arcade  and  below  the  clerestory.  In  cer- 
tain churches  an  open  gallery  takes  the 
place  of  a  triforium.  See  Emjior  and 
(ii/)i(pccuin. 

TRiciLYi'H.    See  Order. 

Tdnnel-vault.    See  Vaults. 

Tympani'm — the  flat  piece  of  wall  tliat 
fills  an  arch  or  pediment. 

Vaulth — A  Barrel-vault  is  a  half  cyl- 
inder ;  when  it  forms  a  ring,  or  part  of 
one,  it  is  an  Annular  vault.  It  is  a  com- 
raou  form  of  Roman  vault,  and  is  then 
usually  a  solid  shell  of  concrete,  sometimes 


strengthened  by  chains  of  brickwork,  but 
is  occasionally  of  cut  stone.  A  Tunnel- 
vault  is  the  same  as  a  barrel  -  vault,  but 
is  sometimes  pointed  iu  section.  Groined 
vaults,  or  cross-vaults,  are  vaults  which 
intersect,  forming  salient  edges  called 
groius,  as  when  two  aisles  or  galleries 
cross.  A  Cloistered  vault  is  a  square  dome, 
or  a  vault  over  a  rectangular  room,  closed 
in  on  all  sides.  Projecting  Ribs  strengthen 
the  angles  or  soffits  of  vaults.  The  rib 
against  the  wall  that  closes  the  end  of  a 
vault  is  called  the  Wall-rib  ;  those  that 
strengthen  the  groins  are  Diagonals ; 
tho.se  tliat  simply  cross  the  soffits  are 
Transverse  ribs.  Only  transverse  ribs  are 
found  in  Roman  vaults,  and  these  rarely. 
Ribs  came  into  use  in  later  Romanesque 
vaults,  and  are  universal  in  Gothic.  A 
Ijand  wliieh  does  not  project  is  not  a  rib. 

Vaulting-shaft — an  engaged  column 
which  supports  the  ribs  of  a  vault  and 
springs  sometimes  from  the  ground,  some- 
times from  a  capital  or  corbel  above  it. 

A'elum — an  awning. 

Venetian  window  —  same  as  I'alhi- 
dian  window. 

Volute  —  a  spiral  banded  ornament 
used  on  the  corners  of  Ionic  or  Corin- 
tliian  capitals,  on  the  sides  of  nindillions, 
and  in  some  other  j^laces. 

Vomitoria — exit  passages  in  a  tbeati'e 
or  ampliitlieatre,  descending  under  the 
seats. 

VoussoiRS — the  wedge-shaped  stones  of 
an  arch  or  vault. 

Wall-kib.     See  VuuUs. 


zzxU 


A    CYCLOP/EDIA    OF    WORKS    OF 

ARCHITECTURE 

IN 

ITALY,  GREECE,  AND  THE  LEVANT 


A  CYCLOP/EDIA   OF 

WORKS   OF    ARCHITECTURE 

IN   ITALY,  GREECE,  AND  THE  LEVANT 


ABlilATEGKASSO,  near  Milan,  Italy. 

Sta.  Maria  is  a  plain  old  church,  whicli 
is  conspicuous  for  the  fine  porch  added  by 
liramante,  it  is  said,  in  the  xv  ceut. ;  it 
stands  in  the  corner  of  an  open  space,  like 
an  atrium,  which  is  lined  with  an  arcade, 
and  adjusted  in  its  design  to  tlie  church 


Fig.  1. — Abbiategfasso,  Chutch. 

facade.  Against  the  plain  brick  front  of 
the  XIV  cent.,  with  a  single  great  gable 
covering  both  nave  and  aisles,  is  built  a 
projecting  jjorch  to  the  full  height  of  the 
nave,  which  it  covers.  It  is  a  huge  arch. 
two  stories  in  height,  borne  on  advancing 
walls  which  are  faced  witb  two  sujierposcd 
orders    of   coupled    Corintliian    columns. 


The  side  walls,  jjicrced  with  arches  into 
the  adjoining  arcades,  are  jianelled  with 
reliefs,  and  tlie  orders  are  continued  in 
pilasters  which  flank  and  surmount  the 
door  of  tlie  nave  at  tlie  back  of  the  arch, 
with  niches  and  reliefs  in  their  inter- 
columniations.  The  porch,  which  bears 
the  character  of  Bramante"s  work  in  and 
about  Milan,  was  built  by  him,  according 
to  M.  Geymuller.  in  1-177,  according  to 
others,  later.  (Sec  Fig.  1.) 
ABU-GOSH  (anc.  Kirjath  Jearim),  near 
Jerusalem,  Palestine. 
St.  .Terejiiaii,  a  Crusaders'  cliurch 
now  in  possession  of  tlie  Latins,  and  ap- 
])arently  of  the  xii  cent.,  is  remarka- 
bly well  preserved.  It  is  a  rectangle 
■")7  ft.  by  86  ft.  outside,  and  consists  of 
a  nave  and  aisle  of  four  bays,  ending  in 
three  apses  hollowed  out  of  the  thick, 
straight  eastern  wall.  Its  architecture  has 
many  Eastern  ^peculiarities.  The  nave 
and  aisles  are  of  nearly  equal  breadth  and 
height,  tlie  bays  almost  square  ;  the  pointed 
arch,  used  throughout,  is  broad  and  low, 
the  groined  vaulting  of  singularly  low 
pitch,  the  aisle  roofs  Hat,  leaving  room  for 
small  clerestory  Avindows  in  the  lunettes 
of  the  nave  :  the  plain  jiiers  square  and 
slender,  without  capitals  or  moulded  liases. 
The  exterior  is  very  plain.  Tiiere  is  a 
vaulted  crypt,  or  rather  under-church,  ar- 
ranged on  the  same  plan  as  that  above,  and 
ajijiarently  underlying  the  whole.  I'pper 
and  lower  churcli  were  once  decorated  with 


ACERENZA 


painting,  of  which  traces  still  remain. 
The  earliest  mention  of  the  church  is  in 
the  XVI  cent.,  when  it  was  in  the  hands 
of  Franciscan  monks.  The  ruins  of  their 
convent  adjoin  it. 
ACERENZA,  Italy. 

The  Cathedral,  dedicated  to  Sta.  Maria 
Assiinta,  is  au  ancient  Romanesque  church 
founded  about  1050,  but  probably  rebuilt 
later.  It  lias  a  length  of  about  :i'3o  ft. 
and  a  breadth  across  transept  of  135  ft. 
Its  plan  is  more  like  that  of  the  French 
Romanesque  churches  of  Auvergne  than  is 
common  in  Italy.  It  enters  tlirough  a 
porch  or  narthex  between  two  angle  towers. 
The  nave  and  aisles  are  covered  by  wooden 
roofs  and  are  separated  by  arcades  of  five 
round  arches  springing  from  square  piers, 
the  aisles  being  divided  by  transverse  arches 
into  square  bays.  The  transept  is  long, 
witli  square  ends,  an<l  each  arm  has  a  small 
flat  eastern  apse  and  a  stair-turret  in  the 
angle  with  the  choir  wall.  The  choir, 
raised  high  above  the  nave,  is  in  a  single 
square  groined  bay  with  a  round  aj)se  and 
encircling  aisle,  with  three  aj)sidal  chapels 
at  the  circumference.  Beneath  is  a  small 
ci'vpt  vaulted  on  four  marble  columjis,  and 
rebuilt  early  in  the  xvi  cent.  The  ex- 
terior shows  Lombard  influence  ;  the  win- 
dows are  round-arched,  the  walls  of  choir 
and  apses  broken  by  pilaster  strips  ending 
in  arched  corbel-tables.  The  west  front 
had  originally  three  doorways.  Only  the 
central  one  remains  ;  it  has  a  round  bear- 
ing-arch formerly  capped  Ijy  a  gable,  and 
angle  shafts  carried  on  strongly  projecting 
corbels  with  grotesque  carving.  The  joints 
of  the  doorway  are  oriuimented  with  gi'ace- 
ful  foliage  in  relief,  having  a  toucli  of 
Byzantine  character.  Over  the  doorway 
is  a  fine  rose  window,  with  simple  forms, 
tiie  original  columns  now  replaced  with 
iron  shafts.  Of  the  two  flanking  towers, 
only  the  southern  was  finislied. 
AD'aU.VSAR,  Asia  Minor. 

HunxiH  OF   SoiMiox.   built    in    5i;i    by 
the   Empci'Dr    .lusliuian,    and    rciiKiiiiing 


in  almost  jierfect  preservation.  It  crosses 
the  bed  of  the  JSangarios,  now  dry,  is  1.400 
ft.  long,  and  has  eight  arches,  each  with 
a  span  of  75  ft.  and  witli  small  arcades 
on  each  side. 
APAM-KLISSI(Dobrudscha),Roumaiiia. 

Tkophy  of  Trajan,  a  massive  circular 
tower  of  masonry,  commemorating  vic- 
tories over  the  Dacians,  standing  near  a 
small  Turkish  village  about  twenty  miles 
from  Medjidie,  and  ten  from  the  Danube. 
The  sculptures  are  rough  in  character, 
but  represent  scenes  from  the  camjjaigns 
of  Trajan  and  give  points  of  comparison 
with  the  reliefs  of  the  Column  of  Trajan 
at  Rome.  The  i^robable  date  is  10!l  a.d. 
ADRIANOPLE.  Roumelia.  Turkey. 

The  Mosque  of  Seliji,  the  work  of 
the  famous  architect  Siuan,  was  built  bv 
the  Sultan  Selim  II  (15GG-74).  It  is  a 
building  about  190  ft.  wide  by  100  ft. 
deep,  ju'eceded  by  a  court-yard  of  nearly 
the  same  size  which  is  surrounded  by 
arcaded  galleries  on  all  sides,  and  has  the 
usual  fountain  in  the  middle,  under  a 
marble  kiosk.  The  galleries,  with  col- 
umns of  rich  stone  and  marble,  are  groin- 
vaulted,  and  across  tlie  front  of  the 
mosque  proper  form  a  iiorch  l)r()kcn  liy 
three  high  pointed  arches.  The  main  feat- 
ure of  the  mosque,  tlie  great  central  dome 
of  some  00  ft.  span,  and  higher,  it  is 
said,  than  the  dome  of  Sta.  Sophia,  rests 
on  eight  great  octag(nial  jiorphyry  ])iers. 
The  entrance  porch,  and  a  large  jiroject- 
ing  sanctuary,  in  the  back  of  whicli  is 
the  mihrab,  or  prayer  niche,  serve  to 
liuttress  the  dome  in  front  and  rear,  while 
the  huge  side  buttresses  inclose  rooms, 
and  with  the  side  piers  sujiport  lateral 
galleries  for  the  sultan  and  his  suite,  and 
for  women.  The  interior  is  lavishly  dec- 
orated with  painted  tiles,  colored  glass, 
and  polychrome.  A  high  miiuiret  with 
galleries  or  balconies  is  set  on  each  corner 
of  the  building,  and  various  dcjiendcncics. 
schools.  hos])itals.  aiul  others,  are  groujted 
about  it.      {Sec  Fi;/.   .'.) 


^GAE 


^EGAE  (Aigai,  Nimroud-Kalcssi),  ^Eolia, 
Asia  Elinor. 

EoKTiFiCATioxs.     The  walls  bear  wit- 
ness to  repeated  enlargements  of  the  city. 
The  nucleus  is  a  triangle,  on  the  highest 
part  of  the  hill,  with  traces  of  an  acropo- 
lis at  the  southern  angle.     The 
masonry  is  of  rough  polygonal 
blocks   with   gates    and  towers. 
The  wall  on  the  S.  W..  in  places 
exposed  to  attack,  is   strength- 
ened by  a  Hellenistic  facing-wall 
placed  some  feet  in  front  of  it, 
built  of  very  careful  rectangular 
masonry  in  large  blocks.     Still 
later    walls   on    the   S.    W.    are 
strengthened  with  circular  tow- 
ers from  20  ft.  to  27  ft.  in  diam- 
eter. 

Market  House,  on  the  X.  E. 
side  of  the  highest  terrace.  The 
length  of  the  main  faQade  is  270 
ft. :  that  of  the  northern  fa9ade. 
where  there  is  an  L.  88  ft.  :  and 
the  width  of  the  building,  37  ft. 
The  main  wall  in  three  stories 
still  rises  to  a  height  of  33  ft. 
and  is  of  Hellenistic  date,  of  ad- 
mirable execution.  The  lowest 
story  is  divided  into  a  double  se- 
ries of  chambers,  about  l-t  ft.  square,  with 
doors  and  windows  contracting  toward  the 
top.  The  front  chambers  toward  the 
north,  over  the  precipice,  have  merely 
very  small  rectangular  openings  for  light 
high  up  in  the  wall.  The  middle  story 
appears  to  have  had  a  line  of  arches  run- 
ning down  the  middle,  and  was  lighted 
by  small  and  sparse  openings  in  the  wall 
between  the  ceiling  beams.  The  upjier- 
most  story  was  essentially  an  open  jjortico, 
with  a  range  of  Doric  columns  and  entab- 
lature. On  this  side  the  ground  lay  much 
higher,  and  there  was  immediate  access  to 
the  portico  from  the  open  air  by  steps. 
The  roof  was  supported  by  an  interior 
range  of  columns  spaced  at  double  the  iu- 
tercolumniation  of  the  outer  range.     The 


front  wall  and  the  lower  parts  of  the  build- 
ing seem  due  to  the  iii  cent.  B.C.,  while 
the  upper  portico  was  a  restoration  of  Ivo- 
man  imperial  date. 

Stadium,  forming  a  terrace  by  itself  S. 
W.  of  the  theatre  and  further  down  the 


Fig.  2. — Adrianople,  Great  Mosque. 

slope.  The  level  area  is  about  740  ft.  long 
and  05  ft.  wide.  The  west  side  is  sup- 
ported by  a  massive  retaining- wall  of  polyg- 
onal style  but  built  of  large  blocks  very 
nearly  quadrangular  and  carefully  titted. 

Stoa  or  portico  on  the  west  side  of  the 
agora  terrace,  opposite  the  market.  It  was 
about  37  ft.  deep  and  had  an  inner  range 
of  columns  with  curious  capitals  formed  of 
hanging  tongue-shaped  leaves.  The  en- 
tablature is  remarkable  for  a  widely  pro- 
jecting cornice  with  panelled  soffits,  and 
has  on  the  inner  side  corbels  cut  in  the 
form  of  ox-heads  to  receive  the  roof-beams. 

Temple,  at  the  western  extremity  of  the 
inner  triangle  of  the  city,  on  a  terrace  above 
the  theatre.  The  foundations  of  the  cella 
.show  that  it  either  was  double  or  had  a 


illGINA 


veiT  deoji  proiiaos.  The  temple  was  Doric 
and  of  late  date,  with  ]irobal)ly  six  eolnmiis 
on  the  fronts  and  twelve  on  the  flanks. 
The  terrace  was  skirted  on  the  N.  E.  and 
S.  E.  sides  by  a  large  two-storied  portico 
about  il  ft.  deep,  with  Doric  colnmns  l)c- 
low  and  Ionic  above.  The  angles  of  junc- 
tion, both  above  and  below,  were  occupied 
by  square  j)illars  with  the  sharp  edge 
turned  toward  the  interior,  and  with  two 
semi-columus  engaged  in  the  faces  corre- 
sponding to  the  exterior  columns.  The  uj)- 
per  story  liad  a  jnirapet  of  panelled  slaljs. 

Temple  of  Apollo  Chkesterios  (ren- 
dering oracles),  dedicated  about  40  b.c.  l)y 
the  Proconsul  P.  Servilius  Isauricus.  It 
was  Ionic,  with  fluted  columns  about  24 
ft.  high  and  an  inner  range  of  smaller 
columns  before  the  cella.  Tlie  frieze  was 
ornamented  with  carved  garlands  and 
bucrania  :  the  dentilled  cornice  was  richly 
moulded.  The  great  doorway  of  the  cella, 
formed  of  three  monolithic  blocks  and 
over  20  ft.  high,  still  stands. 

TiiEATKE,  on  the  slope  S.  W.  of  the 
inner  triangle  of  the  city.  There  are  but 
scanty  remains  of  the  seats  of  the  cavea, 
which  is  less  than  a  quadrant ;  the  wings 
are  supported  upon  very  nnissive  and  care- 
fully executed  vaulted  substructions,  which 
are  so  carefully  flnished  as  to  indicate  that 
the  public  had  access  to  them,  perhaps  as 
an  entrance  to  the  diaxoma  or  horizontal 
jiassage  of  the  cavea.  The  chief  wall  of 
the  stage-structure  is  still  standing ;  it 
is  73  ft.  0  in.  long,  pierced  symmetrical- 
ly with  three  doors,  and  had  decorative 
pilasters,  columns,  and  entablatures  of 
marble.  Behind  the  wall  there  was  a  hall 
which  may  have  been  subdivided.  The 
stage-structure  issupjiortcd  upon  extensive 
vaults,  owing  to  tlie  slope  of  the  ground. 
.(EGINA  (Aigina),  Greece. 

The  Temple  of  Aphhouite  (Venus), 
near  the  harbor,  was  larger  than  the  Tem- 
ple of  Athena,  the  stylobate  being  about  I'ri 
ft.  by  1 14  ft.  It  was  Doric  and  iiexastyle  : 
the  columns  arc  li^  ft.   in    <li:nnctcr.  and 


25  ft.  (nearly  six  diameters)  high.  One 
only  is  now  in  place,  though  in  Chand- 
ler's time  two,  with  a  piece  of  architrave, 
were  still  standing.  They  have  twenty 
channels,  and  capitals  almost  identical 
with  tliose  of  the  Temple  of  Athena.  The 
material  is  a  friable  yellowish  limestone. 

The  Temple  of  Athex\  (Minerva)  is 
situated  near  the  sea.  on  a  hill  at  the 
N.  E.  end  of  the  island.  It  was  probably 
not  finished  earlier  than  the  first  quarter 
of  the  V  cent.  B.C.,  and  was  formerly 
supposed  to  be  that  of  Zeus  Panhellcn- 
ios.  In  1811  some  English  and  German 
architects — Cockercll,  Foster,  Linkh,  and 
Ilaller — made  excavations  which  discov- 
ered the  famous  ^Eginetan  marbles,  at 
least  eleven  in  number,  now  in  the  Glyp- 
tothek,  Munich,  and  restored  by  Thorwald- 
sen.  They  arc.  though  archaic,  among 
the  most  valuable  rennuns  of  (ircek  sculpt- 
ure. The  temj)le  was  built  of  soft  jwrox 
stone,  covered  with  a  thin  layer  of  stucco  ; 
it  is  Doric,  hexastyle,  j^eripteral,  on  a  stylo- 
bate  of  three  stejis,  with  twelve  columns 
in  each  flank  and  two  between  anta'  in 
the  pronaos  aiid  ojiisthodomos.  The  sty- 
lobate is  94  ft.  by  45  ft. :  the  cella,  raised 
on  two  steps,  73  ft.  by  2(i  ft.  outside. 
Columns,  with  twenty  channels,  have  a 
lower  diameter  of  3  ft.  2  in.  and  a  height 
of  17  ft.  3  in.  The  columns  are  inclined 
inward  toward  the  cella  :  their  taper  is 
marked  and  they  show  but  little  entasis. 
The  capitals,  like  the  mouldings  and  all 
the  architectural  members,  are  somewhat 
heavy  in  proportion.  The  entablature  is 
f)  ft.  9  in.  The  cella  is  divided  into 
three  aisles  by  double  ranges  of  five  col- 
umns each  ;  diameter  of  lower  range  at 
the  base,  2  ft.  3  in.:  height,  12  ft.  1  in. 
The  two  ranges  of  columns  were  sepa- 
rated by  an  architrave  bearing  the  usual 
D(n-ic  taniia  with  its  regular  and  gutta^, 
but  no  frieze.  The  floor  ))avement  was 
covered  with  red  stucco.  The  architraves 
bear  traces  of  red  color,  the  tym])ana  were 
paintc-cl  sky-blue,  ami  the  triglyplis  in  the 


^SERNIA 


same  color;  the  marble  cymn  l)(ire  the 
sea-lily  ornament  painted  in  red,  bine,  and 
yellow.  The  platform  on  which  the  tem- 
])le  stands  is  terraced  on  all  sides.  The 
spaces  between  the  ijcristyle  columns  were 
closed  by  a  grating  of  metal.  Beneath  is 
a  cave,  which  may  extend  under  the  cella. 
/ESEIJNIA.  See  Isrniiu. 
/EZANl  (Aizanoi).  Phrygia,  Asia  Minor. 

Axc'iE.vT  Jewish  Temple,  consisting 
of  a  great  cloistered  or  colonnaded  en- 
closure, similar  in  disjiosition  to  that  of 
Jerusalem,  and  within  this  a  shrine  in  the 
form  of  a  small  IJoman  peristylar  temple. 

Temple  of  Zei^s  Panhellexios  (Ju- 
piter of  all  the  Greeks).  The  remains 
comprise  twelve  columns  on  the  north  and 
six  on  the  west,  standing,  and  a  large  part 
of  the  cella.  The  temjjle  stood  on  a  sty- 
lobate  of  fi'"e  steps  in  the  middle  of  a 
quadrilateral  terrace,  520  ft.  by  4S5  ft. 
surrounded  by  a  splendid  Corinthian  col- 
onnade, about  270  ft.  by  190  ft.,  the  col- 
umns of  which  were  IT  ft.  8  in.  high,  by  'Z 
ft.  i  in.  through.  It  was  Ionic,  octastyle, 
pseudo-dipteral,  with  iifteon  columns  on 
each  Hank ;  its  stylobate  was  Vil  ft.  by  72 
ft.,  the  cella  7'J  "ft.  by  35  ft.  The  cella 
bad  two  composite  columns  Ix'tween  anta> 
at  each  end,  and  under  it,  reached  by  a 
stairway  in  the  opisthodomos,  is  a  subter- 
ranean hall  or  crypt  .30  ft.  h\  50  ft. 

TiiE.YTUE,  in  the  southern  part  of  the 
town,  in  part  excavated  from  a  hill,  and 
facing  S.  W.  It  is  a  Roman  building, 
though  with  Greek  features.  The  lower 
division  of  scats  (sixteen  tiers)  up  to  the 
(liazoma  or  Inirizontal  passage  survives  ; 
the  seats  of  the  upper  division  are  gone, 
but  the  enclosing-wall  and  other  founda- 
tions remain.  The  exterior  diameter  is 
.380  ft.  ;  that  of  the  orchestra,  128  ft.  ; 
the  dej)th  from  the  front  of  the  prosceni- 
um to  the  back  of  the  cavea,  178  ft.  ;  the 
length  of  the  stage-structure,  150  ft.  The 
main  wall  of  the  stage-structure  was  deco- 
rated with  six  pairs  of  coupled  Ionic 
columns   supporting   a   rich   entablature. 


iichiml  the  high  back  wall  or  coping  of 
the  diazoma  is  a  series  of  chambers  sepa- 
rated by  coupled  niches  ;  it  is  conjectured . 
that  these  were  for  the  echea  or  acoustic 
vessels    described     by     \'itruvius.       The 
upper  border  of  the  cavea  was  surrounded 
by  a  portico.     The  material  is  white  mar- 
ble ;    the  foundations  of  the  proscenium 
are  limestone  encased  in  marble. 
AGLASOUN.     See  Saycdassos. 
AGLIATE,  Italy. 

The  Church  is  an  ancient  Lombard 
basilica  of  the  Latin  type,  said  to  have 
been  built  by  Anspertus,  Archbishop  of 
Milan,  about  881.  with  nave  and  aisles 
covered  with  wooden  roofs,  the  nave 
about  80  ft.  long  and  2G  ft.  broad,  with  six 
simjile  round  arches  on  either  side  carried 
on  columns  of  which  all  but  that  nearest 
the  choir  have  moulded  capitals  like  in- 
verted bases  with  stilt-blocks.  On  each 
side  the  easternmost  arch  is  of  double  width, 
giving  somewhat  the  effect  of  a  transept, 
as  in  S.  Vincenzo  ed  Ana.stasio  at  Rome. 
This  may  be  an  early  alteration.  The  nave 
ends  in  a  raised  choir  with  a  single  oblong 
bay  covered  by  a  barrel-vault  and  a  round 
apse,  and  the  aisles  end  in  a  similar  way. 
Beneath  the  choir  is  a  fine  crypt  with  three 
aisles,  separated  by  columns  and  arches  into 
vaulted  bays.  The  exterior  is  verj'  simjile, 
and  the  walls  are  of  rude  stone  rubble. 

To  the  south  of  the  church  stands  a 
Baptistery  of  rude  construction  and  de- 
sign of  which  tlie  plan  is  an  irregular  poly- 
gon of  nine  sides,  from  the  eastern  two  of 
which  ])roJects  a  semicircular  apse  with 
an  altar. 

AGRIGEXTUM.     See  Girgenti. 
AGYLLA.      See  Cerveiri. 
AIGAI.     See  JE(/ae. 
AIGIXA.     See  .%/««. 
AIX  IIERSIIA,  Syria. 

Roman  Temple,  almost  complete  ex- 
cept the  roof.  It  is  30  ft,  by  2(5  ft.,  in 
anils,  on  a  basement  which  on  the  west 
side  is  7 J  ft.  high.  The  height  from  base- 
ment to  cornice  is  l'.J  ft.     The  cella  is  sur- 


AIZANOI 


round  od  in  the  interior  by  a  cornice,  iind 
lias  four  Ionic  columns  with  Attic  bases 
engaged   in   its   west  wmII.     'I'he  door   is 
beautifully  ornamented. 
AlZAXOi.     ^ee^JiJumi. 
AKKAGAS.     See  Girqenfi. 
AKRAIPITIAI.     See  Moinit  rtnbn. 
A  LATHI  (anc.  Alatrium),  Italy. 

The  FoKTiFicATioxs  (pre-Roman)  are  of 
large  polygonal  blocks,  massive  and  im- 
posing. At  the  summit  of  the  hill  there 
is  an  oblong  acropolis,  about  2,000  ft.  in 
circuit,  with  polygonal  walls  which  at  the 
S.  E.  angle  rise  to  a  height  of  50  ft. 

Tuscan  Temple,  the  foundations  of 
which  survive  at  about  a  kilometre  beyond 
the  P(n'ta  San  Pietro.  The  small  temple 
was  prostyle,  with  two  columns  before  tlie 
antfe.  The  capital  of  one  of  the  columns, 
of  an  nncanonical  Tuscan  profile,  survives, 
having  served  near  by  as  a  millstone  ;  ami 
both  column-bases  of  the  pronaos  remain 
in  position.  A  posticum  appears  to  have 
been  added  at  a  later  date,  which  copied 
closely  the  dimensions  and  details  of  the 
pronaos. 

ALBA  FUCENTIA.     See  Alhe. 
ALBANO  (anc.  Albanum),  Latium,  Italy. 

Temple  of  Mixerva, 
identified  in  the  round 
li  n  i  1  d  i  n  g  ,  now  the 
Cliui-ch  of  Sta.  Maria 
del  la  IJotonda,  at  the 
west  angle  of  the  pnw- 
torian  camp.  There  are 
carved  acanthus  leaves 
on  the  door-jambs,  part 
of  a  fine  frieze,  and 
some  niches,  wbieli  are 
certainly  ancient. 

Tom  I!  01'  AiU'xs,  so- 
called,  near  the  city  gate. 
It  consists  of  a  base  nf 
masonry  49  ft.  sqn;ire 
and  24  ft.  high,  willi 
basement  and  dentil- 
cornice,  s  u  p  ))  o  r  t  i  n  g 
a  cone  of  niasonrv  '-.'li  ft. 


in  diameter  in  the  middle  and  four  smaller 
cones  at  the  angles.  The  cones  and  one 
side  of  the  base  are  now  in  part  ruined. 
From  the  mouldings  it  appears,  desjiite 
its  sujjerficially  Etruscan  character,  to  1)0 
of  somewhat  advanced  Roman  date. 

Albano  still  shows  many  remains  of 
the  villa  of  Ddinitian,  which  was  built 
there,  on  the  ruins  of  that  of  Pomjiey, 
including  those  of  the  aniphitheati-e.  prie- 
torian  camp,  and  baths  about  it. 
ALRE  (anc.  Alba  Fucentia). 

The  Basilica  of  S.  Pietro  is  oiu'  df 
the  finest  monuments  of  early  Christian 
architecture  outside  of  Home.  Its  site 
was  first  occupied  by  a  Pelasgic  temple 
whose  foundations,  perhaps  contemporary 
to  the  foundation  of  Konie,  or  anterior, 
are  foundations  of  the  church.  The 
Pelasgic  ojien-air  temple  was  succeeded 
l>y  a  Roman  temple,  of  a  good  imperial 
})eriod  and  style,  which  was  in  its 
turn  converted  early  in  the  v  cent,  into 
a  Christian  basilica.  The  cella  walls 
and  the  columns  of  the  pronaos  were 
used,  and  the  columns  of  the  nave  were 
brought  from  the  ruins  of  som(>  other 
pagan  structure.     This  early  church.  re- 


Fig,  3,-Albe.  S.  Pietro. 


ALEXAKDKIA-TIJOAS 


stored  :it  various  times  in  tiie  Xi,  XII,  ;uul 
XIII  cents.,  is  now  a  simple  basilica  with  a 
porch,  three  aisles,  no  transept,  and  a  sin- 
gle ajjse.  Its  interior  measures  75  ft.  by 
35  ft.  The  width  of  the  nave  is  nearly 
15  ft.,  that  of  the  aisles  Vi  ft.  The  six- 
teen columns  bearing  round  arches  that 
divide  the  nave  from  the  aisles  are  fine 
lofty  examples  of  Koman  Corinthian  in  al- 
most perfect  preservation.  Their  great 
height  has  led  to  the  very  unusual  arrange- 
ment of  having  no  clerestory,  the  aisles  be- 
ing nearly  as  high  as  the  nave,  whose  flat 
wooden  roof  is  but  little  above  the  main 
arches.  The  result  is  a  hall-church  which 
must  have  been  very  effective  when  the 
walls  were  covered  with  the  fine  frescoes 
of  which  a  number  still  remain.  The 
choir  was  raised  in  the  xii-xiii  cents. 
and  the  front  of  its  steps  decorated  with 
a  marble  choir-screen  inlaid  with  mosaics. 
At  the  same  time  the  present  ajjse  was 
built  of  fine  stone-work,  and  the  adjacent 
outer  walls  rebuilt  in  the  same  manner, 
contrasting  with  the  original  Roman  brick- 
work toward  the  front,  which  still  re- 
mains. Tlie  porch  and  the  carved  door- 
way with  its  doors  of  sambuco  wood 
covered  with  low  reliefs  remain  from  the 
XI  cent.,  although  the  porch  and  fa(,^ade 
were  remodelled  during  the  Renaissance. 
{See  Fir/.  3.)     [A.  L.  F.,  Jr.] 

The  extensive  Fortificatiox  Walls 
are  among  the  most  perfect  examples  of 
such  ancient  works  in  Italy.  They  show 
different  epochs,  the  greater  part  being  of 
massive  but  somewhat  rough  polygonal 
masonry,  while  the  remainder  consists 
of  a  facing  of  very  careful  polygonal  work, 
with  a  rubble  filling.  There  are  several 
towers,  also  ruins  of  an  amishitheatre,  a 
theatre,  baths,  a  basilica,  temjiles,  etc. 
ALEXAXDRIA-TROAS,  Asia  Minor. 

Baths,  erroneously  identified  by  Tex- 
ier,  in  the  Ionian  Antiquities,  by  Durm, 
etc.,  as  a  gymnasium.  The  building.  -^TO 
ft.  by  405  ft.,  is  divided  into  a  series  of  long 
halls  on  three  sides,  enclosing  a  number 


of  smaller  i-haml)ers.  Tliere  was  a  monu- 
mental entrance  in  the  middle  of  the  east 
front.  The  outer  M'alls  were  in  large 
blocks  of  shell-limestone  ;  the  inner  walls, 
in  ojnis  incertum  of  small  stones  and 
mortar,  were  clothed  with  thin  slabs  of 
various-colored  marbles.  The  vaults  were 
decorated  with  glass  mosaics,  and  tbe 
pavements  with  pebble  mosaics.  In  their 
plan  these  baths  seem  to  fall  between 
the  simple  Greek  baths  and  the  more 
elaborate  Roman  therma;.  The  character 
of  the  masonry  and  ornament,  resembling 
that  of  the  Odeum  of  llerodes  at  Athens, 
seems  to  fix  their  date  as  the  time  of  Had- 
rian. 

Much  of  the  AValls  remains,  and  the 
ruins  of  the  city  are  spread  over  a  large 
space.  The  ruins  of  the  Koman  thermre 
are  important,  as  are  also  those  of  an  aque- 
duct built  by  Hadrian  to  bring  water  from 
Mount  Lla. 

ALINDA  (Demirdji-Deressi),  Caria,  Asia 
Minor. 

Mauket-iiouse,  on  the  west  side  of  the 
terrace  which  constituted  the  ancient 
Ago'-a.  It  is  in  plan  320  ft.  by  34  ft., 
asid  had  three  stories,  the  lowest  divided 
into  a  front  and  a  rear  range  of  chambers. 
The  middle  story  was  lighted  by  a  double 
series  of  small  horizontal  and  vertical  slits 
cut  in  the  wall  near  the  ceiling,  which 
was  supported  in  the  middle  by  a  central 
range  of  square  piers  with  a  Doric  semi- 
column  on  each  side.  The  uppermost 
story,  on  a  level  with  the  Agora,  formed 
a  portico,  open  certainly  toward  the  Ago- 
ra, and  perhaps  on  both  sides.  It  had 
a  central  longitudinal  range  of  unfluted 
columns.  This  building  is  to  be  com- 
pared with  the  similar  market-house  of 
^Egae. 

Theatre,  in  admirable  preservation. 
The  auditorium  is  practically  complete  ; 
it  terminates  above  in  a  passage  surrounded 
by  a  plain  wall.  Tlie  diameter  is  about 
225  ft.  There  are  remains  of  the  stage- 
structure,    including    low    piers,    which 


ALMENNO 


appear    in    liavc    supportcil    a.    stage    nf 

wood. 

ALilENNO.  Italy. 

8.  ToM.MAso  ]N   LiMiN'E,    a    Small   but 
interesting   Lombard    tdiurcb    just   north 


of  Bergamo.  It  is  rii-ciilar.  with  a  lung 
projecting  clmii'  ending  in  an  a])se.  The 
exterior  shows  u  high  cireuhir  aisle,  above 
the  roof  of  whicli  rises  the  clerestory  of 
the  central  division.  The  walls  are  di- 
vided by  numerous  slender  engaged  col- 
umns, ending  in  an  arched  corbel -table 
under  the  cornice  and  with  round-headed 
windows  between  them.  'I"he  interior  luis 
a  central  domed  nave,  and  the  aisle  is  in 
two  vaulted  stories,  separated  from  it  by 
simple  round  arches,  resting  on  eight  col- 
umns in  each  story.  Authorities  differ 
widely  as  to  the  tlate  of  this  church,  the 
local  anti(|uaries  assigning  to  it  an  origin 
as  early  as  the  v  cent.,  while  Osten  con- 
siders it  as  belonging  to  the  XI  cent.,  and 
Mothes  to  the  l\.  (Si'f  Fi'J.  J,.) 
ALTA:\irHA,  Italy. 

'I'lic  ('atiikI)HAI,.  dedicated  to  Sta. 
Maria,  .\ssunta,  is  an  interesting  mm 
cent.  lioniancs(|nc  clnircli  about  li.')  11. 
long,  with    nave   and    aisles    leadini;    to  a 


transept  which  does  not  project  beyond 
the  aisle  walls.  The  nave  is  divided  into 
three  compartments  by  grouped  ])ilasters 
and  columns,  between  one  paii-  of  which 
a  round  arch  spans  the  nave.  Of  these 
compartments  the  first  and  third  contain 
each  two,  the  middle  compartment  three, 
high  round  arches  carried  on  stout  shafts, 
with  well  -  developed  foliage  eajiitals. 
Above  the  arches  is  a  triforium,  here 
called  the  matrvncu,  or  women's  gallery, 
with  round  bearing  arches  answering  to 
tlu'  arches  of  the  nave,  and  each  enctlosing 
three  narrow  horseshoe  arches  on  small 
shafts  with  very  large  carve(l  capitals. 
Over  each  group  is  a  small,  round-arclu'd 
clerestory  window,  higli  in  the  wall, 
under  the  flat  nave  roof.  The  line  of 
nave  columns  is  continued  by  a  single 
i-ound  ai-ch  on  each  side  spanning  the 
li'ansept.  The  west  front  has  a  central 
doorway  of  great  beauty  with  a  pointed 
and  gabled  arch  springing  from  two  col- 
umns on  each  side,  of  which  the  outer 
ones  rest  on  the  backs  of  lions.  All  tlu' 
parts  are  enriched  with  .sculpture  of  much 
excellence,  somewhat  Byzantine  in  feel- 
ing and  with  a  touch  of  Saracenic  influ- 
ence. Over  the  doorway  is  a  line  rose 
window.  The  church  was  foundcil  by 
the  Kmjieror  Frederick  II  shortly  after 
his  coronation  in  1220,  and  was  linisheil 
about  Vi'^'l.  It  was  much  altei'ed  Ijctwecn 
130!)  and  1:543 — to  whicli  jieriod  belong 
the  great  west  doorway  and  the  rose  win- 
dow over  it.  {Sec  Fii/s.  ■'>  mid  '/.) 
AiMALFl,  Italy. 

The  ('atiii:I)I!AL  (S.  Andrea),  founded 
in  the  middle  of  the  IX  cent.,  restored 
in  the  Mil  cent. — when  the  liones  of 
St.  .\udrew  were  lirought  thither — and 
finished  in  12iii.  is  a  (iolhic  (diurch  with 
some  singular  features,  from  a  \aulleil 
porch  or  narthex  approached  liy  a  broad 
ami  high  lliglit  of  steps,  and  extending 
i|nilc  aiross  the  whole  front  of  I  lie  churi'h. 
three  iloorways  enter  the  iia\c  and  aisles. 
The  aisles  were  ori^inallv  douhic  on  eilhei' 


A.MALFl 


Fig.   5— Altamura,   CarhoHral,    Matmr.pn. 

silk',  but  the  outer  southern  aisle  luis 
disappeared  and  the  northern  is  now  sep- 
arated from  the  churcli,  or  rather  is  re- 
phiced  by  a  distinct  church,  called  S.  Cro- 
cefisso.  The  inner  aisles  are  sejiarated 
from  the  nave  by  round  arches  on  each 
side  springing  from  square  piers  which  in 
the  XVIII  cent,  enclosed  the  fine  ancient 
marble  columns.  The  nave  and  aisles 
open  into  a  transept  with  three  Eastern 
apses.  The  flat  ceiling  is  carved  and 
gilded  and  decorated  with  paintings  l)y 
Andrea  d'Asti.  Several  interesting  ex- 
amples of  ancient  art  still  remain  in  the 
churcli,  including  some  sarcophagi  with 
bas-reliefs,  and  a  noble  vase  of  ])orphyry, 
now  used  as  a  font.  A  crypt  extends 
under  the  whole  transept  with  five  aisles. 
On  the  north  flank  is  a  cloister  with  pointed 
arches  carried  on  coupled  columns.  The 
west  front  has  been  entirely  rebuilt  since 
18T0  from  a  design  by  Alvino.  in  the  early 
Italian  (Jothic  style,  of  white,  black,  and 
red  marbles,  and  profusely  adorned  with 
Venetian  gold  mosaic.  The  open  arcaded 
porch  or  narthex  above  mentioned,  raised 
on  a  high  basement,  is  divided  liy  a  line 
of  renewed  columns  into  two  transverse 
groined  aisles.  Of  the  three  doorways 
opening  from  the  porch  into  the  cluin-b 
the  central  one  is  closed  by  a  remarkabli' 
pair  of  bronze  doors  dating   from   lOlio. 


The  jambs,  lintel,  and  tympa- 
num are  decorated  with  rude 
but  spirited  Arid)io  carving. 
Above  the  porch  the  outline 
of  the  fa9ade  follows  that  of 
the  inner  aisles,  but  the  centre 
is  carried  up  in  a  high  gal)le 
far  above  the  nave  roof,  and 
is  filled  by  a  great  picture  in 
mosaic  of  Christ  enthroned, 
with  kings  and  the  emlilems 
of  the  evangelists.  At  tlie 
northern  extremity  is  a  square 
tower,  surmounted  by  a  sin- 
gular round  belfry,  witli  do- 
mical roof  and  angle  turrets. 
The  tower  dates  from  1:270,  but  was  re- 
stored in  1708.     {Scr  Fig.  7.) 


Fig.  6.— Aiu. 


AM  AT  1 1. \ 


A.MATIIA.      Soc   Uammch. 
AMELIA,  Italy. 

ThcC'ATHKniiALisaRoiiaissaiicc  cliurcli. 
bnilt    in  iri4(i  ii|i(in  the  I'uiiis  nf  tlic  iiicd- 


Fig.  7.— Amalfl,  Cathedral. 

iajval  cliurcli  wliich  had  hecn  liunicd.  Its 
plan  is  a  Latin  cross,  about  17(i  ft.  lonsi; 
and  1-iO  ft.  broad  across  the  transcjtt.  Its 
uave,  about  ^-l  ft.  wide,  without  aisles, 
is  flanked  by  five  rectangular  chapels  on 
each  side,  and  opens  into  a  long,  narrow 
transept  divided  into  three  bays,  of  which 
those  at  the  ends  are  covered  each  by  a  high 
hemispherical  dome  on  a  diuni  lighted  by 
large  windows.  The  choir  is  a  single  oblong 
bay.  with  a  flat,  ellijitical  ajise,  and  flanked 
by  sipiare  sacristies.  The  twelve-sided  bell- 
tower  of  the  ancient  church  still  stands  de- 
lachc(l  on  the  south  side  of  the  nave. 


AMMAN  (anc.  Eabbath  .Vnimon  and  I'hil- 
adelphia),  Palestine. 
(»i)F,ri[,  a  small  covered  theatre  just  in 
front  of  the  large  theatre.     ( )ver  a  side  door 
is  a  frieze  sculptured 
witli  Romulus  and  Re- 
1       inus  and  the  wolf.    Ik'- 
tween  the  odeum  and 
the  theatre  extends  a 
large  rectangular  sjiace 
(tigora  or  forum  ?)  bor- 
dered originally  b}' 
about  fifty  Corinthian 
columns,    twelve    of 
which  still  stand. 

Roman  Baths,  on 
the  right  side  of  the 
iirook.  There  is  a  fine 
ajisc.  with  two  lateral 
apses.  The  high  walls 
liave  richly  decorated 
niches,  and  holes  in 
the  stones  point  to  the 
original  presence  of 
metallic  ornamc  n  t . 
Vjirtf]  'j^  Some  columns  are 
Upl[  -:''^^  standing,  without  cap- 
itals. 

Theatre,  in  excel- 
lent preservation,  the 
auditorium  excavated 
from  the  h  i  1 1  -s  i  d  e. 
There  are  two  dinzo- 
iiKilii  or  longitudinal 
]iassages,  dividing  the  auditorium  into 
three  sections,  the  lowest  with  fourteen, 
the  second  with  sixteen,  and  the  highest 
with  eighteen  tiers  of  seats.  Above  the 
highest  section  there  is  a  gallery,  in  the 
middle  of  which  is  a  decorated  "box," 
witli  ))ediment  and  niches.  The  stage- 
structure  is  ruined  to  the  foundations, 
1)11 1  ])ortionsof  adouble  colonnade  survive, 
ill  front  of  it.  The  diameter  of  the  the- 
atre is  not  far  from  ;i(j(i  feet. 
AM  KITH  (anc.  .Marathos).  Syria. 

.Maaiii;i)  or  Ti:mi'i,i;,  the  most   impor- 
tant of  tlie  few  remaining  religious  struct- 


10 


ANAGNI 


ures  of  rha>niciii.  It  is  virtually  :i 
miniature  and  simplified  Egyptian  temple, 
with  its  cella  for  the  image  of  the  divinity 
enclosed  on  three  sides  by  upright  slabs  of 
stone.  The  third  side  was  never  closed, 
unless  by  a  curtain.  The  roof  is  a  mono- 
lithic slab  with  moulded  edges  ;  it  projects 
over  the  open  side  of  the  tabernacle,  and 
is  hollowed  in  the  interior  in  the  form  of 
a  flat  vault.  The  tabernacle  stands  free 
on  a  rock-hewn  base.  There  was  a  court 
around  the  tabernacle,  doubtless  girt 
with  a  portico,  but  all  here  is  comiJlete- 
ly  ruined. 

Ph(exician  "  Monolithic  "  House, 
a  rock-hewn  dwelling,  isolated  by  the 
cutting  away  of  the  rock  at  the  back. 
The  interior  contains  three  rooms,  sepa- 
rated by  thin  partitions  left  standing  in 
the  natural  rock.  The  doors  and  win- 
dows are  distributed  irregularly. 

Phcexiciax  Tomis  called  the  Burdj 
el-Bezzak,  built  entirely  above  ground, 
in  regular  masonry  of  enormous  blocks, 
some  of  them  over  10  ft.  long.  It  is 
square,  with  a  projecting  basement,  and 
a  simple  heavy  cornice.  It  was  finished 
above  with  a  pyramid,  now  thrown 
down.  Inside  are  two  superposed  cham- 
bers, each  with  a  narrow  ojiening  to  the 
outside,  and  with  niches  for  bodies  cut 
in  the  walls,  separated  by  partitions  left 
in  the  stone. 

To.MH,    consisting    of    a    square  base 
from   which  rises  a  circular  die,   above 
which    are   two    circular    drums,    each 
smaller  than   the  member  next   below, 
and  a  crowning  member  of  domical  shape. 
At  the  four  corners  of  the  base  four  lions 
of  rude  design  issue  from  the  die,  facing 
outward. 
ANAGXI,  Italy. 

The  Cathedral  (St.  Magnus)  is  a 
Komanesque  basilica  rebuilt  by  the  Em- 
peror ilichael  about  10T5  and  consecrated 
in  11G7.  The  interior  is  simple  ;  the  nave 
and  aisles,  separated  by  arcades  of  round 
arches  on  piers  with  rude  grotesque  capi- 


tals, are  covered  by  barrel  -  vaults,  and 
each  ends  in  an  ajise.  .\  fine  pavement  of 
(tpus  Alcrandriniiin  covers  the  whole  floor 
of  the  church.  The  exterior  is  interesting, 
the  west  front  decorated  with  old  bas-reliefs 
on  each  side  of  the  simple  round-arched 
doorway.  Near  the  fapade  is  a  square 
detached  bell-tower,  witli  battering  walls 
and  two-light  arched  windows.  The  jjreat 
south  doorway  is  ruined  ;  above  it  is  the 
statue   of    Pope    Boniface    sitting    on   a 


throne.  The  present  entrance  is  on  the 
north  flank.  The  middle  one  of  the  three 
eastern  apses  has  a  dwarf  iircade  of  arches 
supported  alternately  on  columns  and 
grotesque  corbels.  A  three-aisled  crypt 
is  under  the  choir,  with  stilted  round 
arches  on  columns  with  shafts  and  capitals 
of  various  design.  It  is  decorated  with 
early  paintings  of  scenes  from  the  life  of 
-St.  ilagnus,  whose  remains  were  trans- 
ferred hither  in  1231. 


AXCOXA 


AXC'OXA.  Italy. 

Ancii  OK  Tka.iax.  Tlie  Komaii  re- 
mains comprise  the  mole  built  by  Tra- 
jan, on  whieli  stands  the  beautiful  tri- 
uinjilial  areh  in  white  marble,  erected 
.\.ii.  IVi,  in  honor  of  that  emperor,  and 
an  amphitheatre.  The  arch  is  very  light 
and  elegant  in  its  proportions,  and  is  iu 
remarkably  good  preservation.  It  has  a 
single  opening  with  a  very  heavy  key- 
stone, four  Corinthian  semi-columns  on 
each  face,  and  a  high  panelled  attic  above 
the  entablature.     {See  Fig.  8.) 

The  Cathedral  (S.  Ciriaco).  An  xi 
cent.  Romanesque  church,  situated  on  the 
height  of  the  promontory  outside  the 
present  town,  on  the  site  of  an  ancient 
temple  of  Venus  which  stood  in  the 
centre  of  the  original  Greek  cit}'.  It  was 
at  first  a  Greek  cross,  and  has  aisles  on 
all  the  four  arms,  the  transept  terminated 
by  semi-circular  apses  ;  the  east  end  square, 
probably  replacing  an  earlier  ajjse,  and  a 
pointed  dome  over  the  crossing,  sjjringing 
from  a  low  twelve-sided  tambour.  All 
the  cornices  have  arched  corbel-tables, 
and  the  walls  are  divided  by  thin  pilaster- 
strips  and  half  columns.  The  windows, 
few  and  small,  are  either  round-headed 
or  circular.  The  west  front  has  a  fine 
deep  projecting  porch,  added  in  the  xiii 
cent.,  with  several  orders  of  columiis  and 
pointed  arches  in  the  jambs,  surmounted 
by  a  gable.  Of  the  columns  the  outer 
pair  are  octagonal  and  rest  on  lions.  The 
south  door  is  covered  by  a  simple  round- 
arched  porch  of  sliglit  projection  built 
in  1184.  Within,  the  nave  and  transept 
have  each  three  round  pier  arches  rest- 
ing on  columns  of  red  Verona  marble, 
presumed  to  liave  been  those  of  the  an- 
cient temple  :  the  capitals  rude  Ionic  and 
Corintliian.  The  choir,  originally  of  the 
same  length  as  the  nave  and  transept,  but 
with  four  arches  instead  of  three,  has 
been  ])rolonged  by  a  single  square  com- 
partment fianked  by  two  chaiiels.  All  the 
aisles  are  covered  with  four-part  vaulting. 


Xave,  choir,  and  transepts  are  flat-ceiled. 
The  central  dome  is  carried  by  squiiiches 
on  four  massive  piers,  joined  by  veiy 
slightly  pointed  arclies.  The  floor  in  both 
transepts,  high  above  that  of  the  nave, 
is  reached  by  l)road  steps,  and  under  each 
is  a  high  crypt,  of  which  the  northern  has 
a  highly  decorated  chapel  containing  the 
tomb  of  St.  Ciriacus,  whose  remains  are 
preserved  in  a  glass  sarcojihagus.  The 
detached  square  campanile  is  of  later  date. 
{See  Fiys.  9,  10.) 

Sta.  Maria  della  Misericordia  has  a 
gorgeous  Renaissance  facade,  and  an  inter- 
esting interior  of  pure  transitional  (iothic, 
which  must  date  from  the  xiii  cent.  Al- 
though in  ground-plan  it  is  basilical  with 
a  nave  and  aisles,  no  projecting  transept 
and  one  shallow  eight-sided  apse,  yet  in 
elevation  it  shows  a  resemblance  to  a 
Greek  cross  with  central  dome,  thus  show- 
ing tlie  influence  of  8.  Ciriaco.  The  nave 
proper  consists  of  three  bays,  whose  cen- 
tral compartment  is  covered  with  an  ob- 
long ribbed  octagonal  dome  ;  all  the  rest 
of  the  comjiartments  in  the  church  have 
simple  ribbed  cross-vaults.  The  base  and 
capital  of  the  piers  are  still  of  a  rude  Lom- 


Fpg.  9. — Ancona,  Cathedfal.  plan,  Scale  of  100  feet. 

bard  tyjie.  The  octopartite  choir  resem- 
bles that  of  the  catliedral  of  Xarni.  [A. 
L.  F.,  Jr.] 

Sta.  .Makia   heli.a   1'iazza  is  remark- 


is 


ANCYRA 


able  Un-  its  ricli  fumade  ilatcil  l-^ln.     This  is 
curiously  built  in  superposed  arciides,  lujt 
separated  by  strin,<j:-c()urs('s,  the  eolumns 
of  each  areade  resting  in  the  spandrels  of 
that    beneath.     The    interior   consists    of 
live  bays,  with  round  arches  supported  by 
octagonal  piers  built  up  of  stone,  the  arch 
near  the  single  apse  being  higher  tluin  the 
rest.     All  the  compartments  are  covered 
with  cross-vaults,  those  over  the  side-aisles 
being    alone     original.      The    transverse 
arclies    in   the    nave   are 
r  ()  u  n  d  :    in    the    ai-sles, 
pointed.      The  capitals 
are  of  simple  cubic  form. 
[A.  L.  F..  Jr.] 
ANCYKA  (Angora). 
Asia  Minor. 
CoLVMX   OF    Jovian. 
in  the  lower  part  of  the 
city.     The  pedestal,  a 
single  block    of  grayish- 
white  mai'ble.  has  never 
had  any  inscription.    The 
shaft   is   formed  of   nine 
drums,  each  one  of  wiiich 
is  cut  with  singular  and 
sinnlar   horizontal  flutes 
or  mouldings,  as  in  some 
Persian    monuments. 
The  capital  has  a  Byzan- 
tine appearance  ;    at  the  four  angles  are 
four  palms  surrounding,  on  each  face,  four 
medallions  or  shields,  each  one  of  which  is 
pierced  with  four  holes,  probably  for  hold- 
ing a  bronze  eagle.     The  total  height  is 
about  45  ft.,  that  of  the  capital   5  ft.  :5 
in.,  of  the  pedestal  9  ft.  3  in. 

Temple  of  AuursTrs  Axn  Rome, 
dedicated  by  Pyliemenes,  son  of  King 
Amyntas  of  Galatia.  It  was  changed 
early  into  a  Christian  church  :  in  the  xiii 
cent,  a  mosque  was  built  on  the  north 
side  by  the  architect  Sinan.  The  gate  of 
the  temple  was  carried  to  Bagdad  by 
llaroun  al  Rashid.  The  remains  consist 
of  the  lateral  walls  of  the  cella,  with  ant;^ 
terminated   liy   pilasters,    and    the    front 


wall  witii  its  doorway.  The  white  marble 
temjsle  was  Corinthian,  hexastylo,  peript- 
eral, but  the  peristyle  is  gone.  Tlie  ca])- 
itals  of  the  pilasters  are  formed  of  a  well- 
sculptured  winged  N'ictory,  amid  acanthus 
foliage,  and  the  frieze  adorned  with  a  run- 
ning acanthus  ornament.  The  door  of 
the  cella  has  a  cap  on  nuirble  consoles. 
On  the  interior  of  the  pronaos  wall  is  the 
celebrated  inscription  called  the  Monit- 
mcntum  Aitrjjraiinm,  containing  in  both 


Fig.  10.— Ancor.a,  Ctiiedii:. 

Greek  and  Latin  the  political  testament  of 
Augustus,  or  the  record  of  his  acts,  from 
the  emperor's  will. 
ANDRIA,  Italy. 

The  Cathedral,  datiiigoi'iginally  iVoui 
the  middle  of  the  xi  cent,  has  been 
greatly  changed  by  repeated  restorations, 
it  has  a  nave  and  aisles  of  nearly  equal 
breadth,  separated  by  arcades  of  seven 
arches,  once  pointed,  now  rouiul,  and 
opening  by  pointed  arches  into  the  broad 
rectangular  transept,  which  does  not  pro- 
ject beyond  the  aisle  walls,  and  in  which 
the  straight  eastern  wall  shows  traces  of 
three  apses  which  have  now  disappeared. 
About  1228  a  line  of  seven  chapels  was 
added  to  each  aisle. 


AXDROS 


ANDKOS,  Cyclades,  Greece. 

Tower  or  donjon,  dating  from  about 
tlic  time  of  Epaminondas,  in  the  locality 
called  Pyrgos,  close  to  the  ruins  of  the 
ancient  city  of  Andros.  Tlie  Inisement 
story  is  vaulted  by  corbelling  out ;  there 
are  five  stories  above  this.  The  door  and 
windows  contract  upward.  Tlie  tower. 
30  ft.  in  diameter,  survives  to 
a  height  of  nearly  70  ft.  The 
masonry  of  tlie  basement  is  poly- 
gonal with  horizontal  beds ;  of 
the  superstructure,  good  Hellenic 
with  many  of  the  vertical  joints 
inclined.  In  some  of  tlie  stories 
the  stairs  remain. 
ANGORA.  See  Anci/ra. 
ANSEDONIA  (knc.  Cosa), 
Italy. 

The  ancient  Etruscan  coast  city 
was  abandoned  in  the  v  cent.    Its 
Walls,  forming  an  irregular 
quadrangle  over  a  mile  in  circum- 
ference, are  admirably  jireserved. 
They  are  built  of  enormous  blocks 
of  limestone  in  an  irregular  poly- 
gonal   style,    but  with   remarkably   e.xact 
joints,  and  the  outer  face  finished  perfect- 
ly smooth.      They  are  strengthened  with 
projecting  square  towei-s.    'I'hcrc  aiv  three 
double  gates,  not  arched. 
ANTIPHELLOS,Lycia,  Asia  Minor. 

Xecropoli.s  of  rock-cut  tombs,  whose 
fa(;ades  ajipear  in  the  face  of  the  cliff. 
These  faQadcs  imitate  exactly  a  construc- 
tion framed  in  square  wooden  beams, 
witli  panelled  doors  and  windows  and  ceil- 
ings of  round  poles  laid  closely  side  by 
side.  Even  the  heads  are  shown  of  the 
tree-nails  used  to  secure  the  dove-tailed 
and  mortised  beams.  Some  of  the  roofs 
are  flat,  others  gabled  in  the  form  of  a 
Greek  pediment.  The  forms  evidently 
reproduce  in  all  their  details  the  exteriors 
of  the  wooden  dwellings  of  the  natives, 
and  this  imitation  is  in  some  cases  extend- 
ed to  the  interior  chambers. 
ANXANUM.     See  Lanciano. 


AOSTA  (anc.  Augusta  Pra>toria).  Italy. 

'I'he  Triumphal  Arch  is  a  massive 
structure  about  -tO  ft.  by  85  ft.,  pierced 
by  a  single  arch  30  ft.  wide  and  nearly 
40  ft.  high.  It  is  surrounded  by  ten 
Corinthian  columns,  standing  on  a  high 
stvlobate  and  supporting  a  Doric  entab- 
lature.    An   order   of   stumpy   composite 


^ji'iM^^-'^  - 


»•»<-.- ^rS—^.JSi^V.  -V 


Fig.  11, — Aosta,  Arch  of  Augustus. 

pilasters  bears  on  its  entablature  the 
wide  archivolt.  The  attic  which  probably 
crowned  it  has  disappeared,  and  witli  it 
the  inscription,  but  the  arch  is  believed  to 
have  been  built  by  Terentius  Varro  to  the 
honor  of  Augustus,  in  commemoration 
of  his  victory  over  the  Salassi  in  '17^  n.c. 
{See  Fig.  11.) 

The  Cathedral  (S.  Gratus  and  8. 
.Tocundus)  is  a  Romanesque  chundi  of 
doul)tful  date,  variously  assigned  to  the 
XI  and  XIV  cents.,  with  a  Renaissance 
fac>ade  which  was  added  in  Vyi'i.  The 
bi-oad  apse  is  flanked  by  two  massive 
square  towers,  evidently  of  early  date,  and 
on  the  north  side  is  a  cdoister  dating  from 
14.50  with  round  arches  on  grouped  piers. 
The  interior  is  sim^ilc  and  severe,  with 
nave  and  aisles  divided  by  arcades  whose 
round  arches  spring  from  plain  square 
])iers.  The  choir  has  a  line  mosaic  jiave- 
nient  and    inlaid    stalls    dating   from    the 


ArAMEIA 


eutl  of  the  xv  cent.  An  ancient  crypt  of 
Romanesque  character  with  columns  fitted 
with  chissic  capitals  lies  under  the  choir. 

St.  OrKS  is  a  very  old  church,  which 
has  been  dated  back  to  the  viii  cent. 
Tiie  interior  is  modernized,  but  has 
some  handsome  stalls  ;  the  front  shows  a 
late  Gothic  doorway  with  a  gable  over  it. 
The  Komanesque  cloister  is  interesting. 
It  has  single  columns  of  black  marble, 
with  capitals  rudely  carved  in  figure-sub- 
jects from  Bible  history,  whicli  carry 
rough  round  arches,  and  a  roof  covered 
with  stone.  The  high  square  bell-tower, 
standing  apart,  is  also  late  Romanesque, 
with  a  more  recent  jjyramidal  roof.  Xear 
by  is  another  tower,  of  later  date,  octag- 
onal, with  broad-windowed  belfry  story, 
deep  corbelled  cornice  and  spire-like  roof. 

PoKT-V  Pu.EVOKiA,  the  chief  gate  of  tlie 
ancient  Roman  city,  now  called  the  Porta 
della  Trinita.  The  gate  has  a  triple  arch 
in  each  face,  the  middle  arch  being  37  ft. 
wide,  those  on  the  sides  71  ft.  The  dis- 
tance between  tlie  two  faces  is  -iO  ft. — the 
longest  kno^vn  in  such  Roman  construc- 
tions. Over  the  arches  there  was  a  frieze 
and  consoles,  which  remain  in  part. 

The  RoMAX  Walls,  enclosing  a  rectan- 
gular area  790  by  020  yds.,  remain  through- 
out their  extent,  together  with  some  of 
their  square  towers.  Several  of  these 
were  in  course  of  time  altered  into  medi- 
aeval fortresses.  The  facing  is  of  hewn 
stones.  ai\d  has  been  in  part  torn  away  as 
building  material.  There  is  an  impres- 
sive piece  of  the  straiglit  back  wall  of  a 
tiieatre  over  70  ft.  high,  in  four  stories, 
witli  windows,  and  scanty  remains  of  an 
amphitheatre,  in  plan  2S2  ft.  by  243  ft. 
Eight  arcades  of  the  exterior  facing  re- 
main with  Doric  semi-columns.  Without 
the  town  there  is  a  fine  Roman  bridge  of 
a  single  arch  of  large  stones. 
APA:\rEIA  (Kalat  el-Mudik).  Syria. 

Portions  remain  of  the  ancient  walls, 
and  of  the  chief  gate  on  the  north. 
From     this    gate   a  street    140  ft.    wide. 


of  about  1,800  columns,  33  ft.  high,  ran 
southward  ;  some  of  them  remain  stand- 
ing ;  a  great  number  lie  as  they  have 
been  overthrown  by  eartluiuakes.  Back 
of  the  colonnades  were  walls  with  niches  ; 
a  number  of  the  portals  still  stand. 
APllRODISIAS,  Caria,  Asia  Minor. 

The  Stadium,  in  the  N.  W.  part  of  tlic 
city,  forms  a  part  of  the  walls,  like  the 
Amphitheatrum  Castrense  in  Rome.  It  is 
semicircular  at  each  end  and  920  ft.  long 
by  270  ft.  wide.  The  arena,  100  ft.  by  7-50 
ft.,  is  surrounded  by  twenty-six  tiers  of 
seats,  divided  on  each  side  into  thirty 
cunei  or  sections,  separated  by  flights  of 
steps.  Above  the  seats  was  a  gallery  18  ft. 
wide,  covered  by  an  arcaded  portico,  nu- 
merous fragments  of  which  still  remain. 
The  grand  entrances  were  through  arched 
gateways  at  eacli  extremity. 

Temple  of  Aphrodite  (Venus),  prob- 
ably of  Roman  date  ;  the  town  enjoyed  the 
protection  of  the  Caesars,  who  claimed  de- 
scent from  Venus.  The  tensile  is  one  of 
the  best  preserved  in  Asia  Minor  ;  sixteen 
of  its  columns  are  standing,  and  bases  of 
otherc  are  in  place.  It  stood  in  the  middle 
of  an  enclosure  370  ft.  by  190  ft.,  adorned 
on  the  interior  with  coupled  Corinthian 
columns  19  ft.  high,  supporting  pedi- 
ments alternately  curved  and  triangular. 
Between  the  columns  were  niches  with  pi- 
lasters. The  tenij)le  was  Ionic,  octastyle, 
pseudodipteral,  with  fifteen  columns  in 
each  flank  ;  the  ground-plan  is  119  ft.  by 
00  ft.  ;  the  cella  is  destroyed.  It  w;is 
clianged  into  a  church,  the  columns  of 
the  front  being  removed  and  ranged  with 
those  on  the  sides,  and  external  walls 
built  outside  of  the  columns  so  as  to  form 
a  nave  with  aisles,  and  an  ajise. 
MiVJE  CUTILLE.  See  Cittadumlc. 
AQUILA,  Italy. 

S.  Berxardixo.  a  XIII  cent.  Gothic 
church,  many  times  rebuilt,  of  which 
tlie  interior  was  partly  destroyed  by  the 
earthquake  of  1703,  and  much  changed  in 
the  rebuilding.     The  aisles  are   vaulted  ; 


AQUILEJA 


tlio  nave  has  a  flat  ceiling,  and  is  bonleri'd 
by  arcades  of  five  arches  each  on  cohunns. 
The  crossing  is  covered  by  a  dome  and 
at  the  east  end  is  a  central  apse.  The 
Kenaissance  west  front  by  Cola  dell'  Anui- 
trice,  dating  from  1525,  is  the  most  con- 
siiicuons  feature  of  the  church. 

St  A.  Makia  in  C'olle.maggio.  A  re- 
mai'kable  Romanesque  church  of  the 
XIII  cent.,  which  has  been  much  injured 
by  earthquakes  and  degraded  by  restora- 
tions, the  interior  being  entirely  modern- 
ized. The  west  front,  square  like  others 
in  Aquila,  retains  most  of  its  original 
features.  It  is  about  100  ft.  broad,  in 
two  stories,  separated  by  a  niodillioned 
cornice  of  classic  form,  with  pilaster-strips 
at  each  angle.  The  first  story  has  three 
round-arched  doorways  with  square  open- 
ings. In  the  second  story  a  window  over 
the   central  doorwav,   large  and   rich,   is 


F  _■    T  — Aqij''i    S    M    di   Collemaggio. 

the  only  ojiening.  'i'iu'  whulc  wall  is 
faced  with  small  blocks  of  white  and  red 
marble,  forming  ;i  regular  tile  pattern, 
and  the  front  is  finished  with  a  horizontal 
cornice  of  Renaissance  monldings.  At 
the  south  angle  of  the  west  front  is  a  low 
octagonal  l)ell-tower  witb  heavy  macchico- 
lated  cornice,  'i'lic  cliun'h  was  founded 
in  1287.  in  edujimction    with  a  Benedir- 


tine  monastery,  and  was  occupied  in  121)4, 
in  which  year  Pope  Celestine  V.  was  here 
crowned.     {See  Fiy.  i~.) 
Al^UILEJA,  Venetia,  Italy. 

The  Cathedral,  a  great  basilica,  sub- 
stantially of  the  XI  cent.,  but  much 
altered  later.  It  has  a  nave  and  aisles, 
transept,  and  three  eastern  ajjses.  The 
nave  is  about  40  ft.  wide,  and  the  inside 
width  across  the  aisles  85  ft.,  the  whole 
length  about  230  ft.  The  jjillars  which 
carry  the  fourteen  pointed  arches  in  each 
arcade  are  probal)ly  Eomau,  varying  in  di- 
ameter and  height ;  but  their  capitals  seem 
to  date  from  the  rebuilding  of  the  church 
in  the  first  half  of  the  xi  cent,  by  the 
patriarch  Poppo.  The  pointed  arches 
are  probably  due  to  a  restoration  after  an 
earthquake  in  the  second  half  of  the  xiv 
cent.  (1305-81).  The  ceiling  is  of  wood 
and  cinquefoiled  in  cross  section,  like 
some  in  Venice  and  Padua. 
The  choir  is  raised  over  a  cr\Y>t 
which,  like  the  transej)t,  is 
probably  of  the  xi  century.  It 
has  a  handsome  bahistraded 
podium,  reached  by  a  double 
flight  of  steps,  which  encloses 
a  rich  pulpit,  all  of  early  Re- 
naissance design,  and  giving 
tine  effect  to  an  otherwise  hare 
church.  At  the  middle  of  the 
jn-ineipal  apse  is  the  patriarch's 
throne  of  inlaid  marble,  prob- 
ably reconstructed  in  the  xiv 
cent,  out  of  an  older  Byzantine 
example.     (Sec  Fiy.  13.) 

In  front  an  open  porch  of 
Lombard  architecture  connects 
with  an  old  vaulted  building  known  as 
the  CiiiKSA  DEI  Pagaxi.  This  has  three 
bays  of  plain  cross-vaulting  and  niches  in 
the  side  walls.  It  leads  to  an  old  ruined 
baptistery,  octagoiuil  in  ])lan.  and  contain- 
ing a  tank  for  immersion,  a]>iiarently  hex- 
agonal, and  surrounded  by  an  arcade  con- 
nected with  the  outer  wall  by  cross  arches. 
The  high  camiwnile,  begun  by  the  jiatri- 


AIJAK-KL-MONYEII 


iiroli  l'()])))().  ami  fiiiislu'il  in  the  xiv  or 
XV  coiit..  is  ;i  ian(liii:iri\  in  tiic  country. 
Inside   the  eiiurch    in   the  noi'lh  aisle  is  a 


ill  Mi 


Fig    13. — Aquileja,  Cathedral, 

eurious  litth'  detaeiieij  rouml  hnihlinir.  of 
wiiieh    the  purjiose  is  forgotten.      It    has 
a  west    door,  a   cohjnnaded    attic,  and    a 
pointed  roof. 
AHAK  EL-MONYKII,  I'ah'stine. 

Rociv-niAMHEiis,  excavated  in  tlie  soft 
limestone.  The  entrance  is  bv  a  large 
door  of  good  workmanship,  cut  in  the 
rock.  Tliis  leads  into  a  series  of  large 
and  lofty  chambers  of  beehive  shape,  one 
of  which  is  nearly  100  ft.  in  diameter. 
The  walls  are  ornamented  with  sculiJtured 
cornices,  and  with  shallow  niches  in  paraUel 
rows.  It  is  probalile  that  these  curious 
works,  with  the  others  like  them  in  this  re- 
gion, date  back  to  the  primitive  inhabitants, 
prior  to  the  Edomite  occu]>ation.  There 
are  some  Cufie  inscrijitions  cut  in  tiie  rock. 
ARBE,  Dalmatia. 

Campanile,  or  bell-tower,  one  of  the 
finest  in  Dalmatia.       It   stands  eons])icu- 


ously  apart  from  the  cathedral,  near  the 
edge  of  a  clill.  It  is  20  ft.  square  and 
1)0  ft.  high  to  its  parapet,  is  built  in  live 
stories,  with  coui>le(l  windows,  expanding 
from  story  to  story  in  Komanesque  fash- 
ion, and  a  line  belfry-stage  with  four-light 
openings  and  coupled  shafts,  tiie  whole 
crowned  with  an  ai'caded  parapet,  aiul 
above  this  an  octagonal  spire.  Eitel- 
lierger  finds  mention  of  it  in  I'^l'-i. 

The  Cati[i:i)KAL.  a  three-aisled  basilica, 
had  originally  three  apses,  of  which  tiie 
southern  has  disappeared  :  the  middle 
one,  round  within,  is  octagonal  without. 
T'he  nave  is  of  six  round-arched  bays, 
carried  on  round  shafts  with  Byzantine 
capitals  and  stilt-blocks  above  them  as 
in  the  Kavenna  churches.  The  inlci'ior 
is  ciinsidcraljly  modernized.  It  contain.s' 
a  remarkable  hexagoiud  baldai'chino  or 
ciborium,  Byzantine  in  style,  richly  or- 
namented, and  carried  on  eohunns  of 
cipollino.  The  carved  stalls  ari'  hand- 
some and  bear  date  l-tl.").  The  church  as 
it  stands  is  probably  due  to  the  reliuild- 
ing  of  1287,  which  is  recorded  in  an  in- 
scripiiou. 

S.  (JiovAXS'i  Battista.  now  ruined, 
was  a  Benedictine  monastic  church  —  an 
aisled  basilica  of  eight  bays.  The  east 
end,  which  alone  still  stands,  is  a  singular 
departure  from  Dalmatian  or  Byzantine 
ways  of  building.  It  has  a  round  apse, 
and  an  ambulatory  about  it  which  is 
covered  with  barrel- vaults,  resting  on 
cross  arches,  and  ex2)anding  outward  to 
suit  the  radiating  bays. 
AKBELA  (Irbiii),  Galilee,  I'alestine. 

Caverns,  fortified  by  Josephus  in  the 
I  cent.,  on  the  south  side  of  the  gorge  of 
AVady  el-IIamam.  A  broad  (light  of  stei)S 
at  the  top  of  a  steep  sloj)e  leads  to  the 
caverns,  which  are  in  several  tiei's  con- 
nected by  winding  stairs.  Many  galleries, 
cisterns,  and  cham])ers  are  wholly  artifi- 
cial and  of  excellent  workmanship.  The 
mouths  of  the  caverns  are  closed  by  loop- 
lioled  walls.     The  chief  entrance  is  sur- 


AKBONA 


nionntnl    liy    an    excellt'iit     relief    nf    two 
lions.      Under  Hen  id  the  (trout  these  eav- 
eriis  were  a  stronjihold  of  hrifjands. 
AHHOXA.     See  S/n.  J/nrifi  <!' Arl,i,)in. 
AHKZZO.  Italy. 

'riio  l?.vr)[.v.  A  J\enaissaneeehureh.  at- 
tached to  the  Monastery  of  the  Cassinensi 
and  dating  from  about  1550.  The  design 
is  attributed  to  Vasari.  Its  plan  is  a  rect- 
angle, about  75  ft.  by  1G5  ft.,  with  five 
square  bays,  separated  l)y  transverse  round 
arches  and  covered  alternately  by  barrel- 
vanlts  and  round  domes.  The  easternmost 
bay  forms  the  choir  and  is  enclosed  by 
solid  walls,  the  others  open  into  the  aisles 
— the  domed  bays  by  high  arches  spring- 
ing from  square  pilasters,  the  others  by 
lower  openings  in  the  form  of  a  triumjihal 
arch  on  small  Doric  columns. 

The  Cathedral  (S.  Pietro).  An  in- 
teresting example  of  the  Gothic  style  of 
North  Italy.     Its  exterior  is  unimportant, 


iinmmiiiiii 


E^%,i: 


Fig.   14  — Arezzo,  Sta    Maria   detia   Pieve   and   Fratefnita. 

and  I  lie  fa(;ade.  in  which  is  a  line  I'ose 
window  with  good  painted  glass,  was  never 
completed.  Its  interior  is  divided  into 
a  long  nave  of  six  bays  and  two  narrow 
ai.sles.  with  a  choir  as  wide  as  the  nave, 
ending  in  a  half  octagon,  but  no  transept. 


The  nave-])iers  are  composite,  bearing 
pointed  arches  and  faced  with  vaulting 
shafts.  Over  each  arch  the  wall  is  ])ierced 
with  a  round  window  filled  with  good 
ghuss  of  the  xvi  cent,  by  a  French  artist. 
The  church  itself  dates  from  the  later  lialf 
of  the  XIII  cent.,  having  replaced  an 
older  building  which  was  pulled  down  in 
1377.  The  high  altar  has  been  ascribed, 
without  much  reason,  to  Giovanni  Pisano. 
The  Fraterxita  ijella  JIiseiucor- 
DIA  has  a  tayado  on  the  Piazza  Vasari 
which  is  a  picturesque  example  of  tran- 
sitional architecture.  The  lower  story 
is  characteristically  (iothic.  with  a  round- 
arched  door  between  two  jiointed  win- 
dows, their  splayed  jambs  beset  with  slen- 
der columns,  straight  and  twisted,  and 
profuse  foliage.  The  second  story.  K'e- 
luussancc,  is  decorated  with  niches  and 
sculpture  in  the  intervals  of  an  ordci-  of 
delicate  pilasters.  Above  this  a  pictu- 
res(jne  wooden  loggia  is 
corbelled  out  under  a 
lioldly  ]irojecting  roof, 
from  which  rises  an 
ugly  trijile  l)ell-cote  of 
later  date,  ^'asari  says 
that  the  fa(;ade  was  the 
wink  of  Niccolo  di 
Piero  in  1383.  a  date 
which  is  too  early  for 
anyt  liing  but  the  lower 
story.  On  the  adjoin- 
ing si(h'  of  the  piazza 
is  the  loggia,  designed 
liv    \'asari.     [See    Fi<j. 

Sta.   iMakia  An- 
xtxziATA.  known  also 
as  tlie   Madonna  delle 
Lagrinic.      A     lienais- 
sance  cliiirch  nf  plain  bri(d\  exterior,  be- 
gun   about     14<;ti    by     Hartolloneo    della 
Gatta,  and  finished  by  Antonio  San  Gallo. 
Its  |ilan  is  a  rectangle,  about  85  ft,  broad 
and    l(i5    ft.  long,  of  which  length  about 
30  ft.  is  given  to  a  closed  jiorcli  or  vcsti- 


18 


AT^GOS 


bulo  divideil  hy  C'oriiitlii;in  rolimnades  in- 
to three  triiiisvei'.se  l>;i_vs.  liound  arches 
from  tlie  thive  bays  enter  the  nave  and 
aiiiles,  whicli  are  sejiarated  hy  arcades  of 
three  round  arches  on  each  side,  springing- 
in  Roman  style  from  square  jiiers  faced 
with  Corinthian  pihisters  with  an  entabla- 
ture. alio\e  which  is  a  clerestory  witii 
three  round-arclied  windows,  anil  a  cornice 
from  which  springs  the  barrel-vault  of  the 
uave.  The  aisles  are  divided  by  transverse 
arches  into  square  bays,  each  with  an  altar 
recess.  The  transept  arms  and  choir  are 
barrel-vaulted  :  the  crossing  is  covered  by 
a  hemispherical  dome. 

St.\.  Maria  delle  (Jkazie  is  a  small 
(tothic  building  witlujnt  aisles,  aliout  30  ft. 
wide  and  70  ft.  long,  divided  into  two  square 
bays  covered  by  groined  vaults,  and  an 
octagonal  apse.  A  graceful  early  Renais- 
sance portico  ascribed  to  Benedetto  da  Ma- 
jano  is  swung  across  the  west  front,  com- 
posed of  an  open  iircade  of  round  arches 
on  Corinthian  columns  with  blocks  of  en- 
tablature, with  a  whole  entablature  above, 
of  which  the  frieze,  as  well  as  the  spandrils 
of  the  arches,  is  richly  decorated  with  lias- 
reliefs.  A  raised  terrace  with  balustrade 
surrounds  the  church  on  three  sides. 

Sta.  Maria  ueli.a  Pieve.  An  an- 
cient church  of  somewhat  uncertain  style, 
said  to  date  originally  from  the  vii  cent., 
but  rebuilt  in  the  xiii  cent.  Its  west 
front  is  perhaps  unique,  and  little  like  a 
church.  It  consists  of  four  stories  with  a 
horizontal  cornice.  The  first  story  is  an 
arcade  of  five  round  arches  with  doors  in 
the  middle  and  at  the  ends.  The  other 
three  stories  consist  of  ojien  galleries  with 
columns,  the  second  and  third  being 
arcades,  the  fourth  a  mere  stockade  of 
columns.  The  columns  are  round,  poly- 
gonal, twisted,  some  classical,  some  By- 
zantine, some  Gothic,  the  capitals  and 
bases  evidently  collected  from  the  ruins  of 
older  buildings,  and  used  without  regard 
fin-  uniformity  of  size  or  design.  At  the 
angle  of  this  singular  front  is  a  very  high 


square  canijianile,  with  five  similar  stories 
of  two-light  semicircular  windows.  The 
east  end  abuts  on  a  i)icturesque  square, 
aiul  presents  a  central  apse  in  three 
stages  :  the  second  with  an  ojien  gallery  of 
tall  round  arches  on  columns,  the  third  a 
gallery  of  slender  columns  with  square 
lintels.  The  interior  has  a  nave  and  side 
aisles  divided  into  four  bays  ;  ])lain  round 
columns  with  high  foliage  capitals  and 
square  plinths,  carrying  pointed  arches ; 
transepts  which  do  not  project  beyond  the 
aisle  walls  ;  a  choir  of  two  bays  with  round 
arches  and  an  apse  :  and  a  circular  lantern 
above  the  crossing,  with  an  arcade  under 
the  cornice.  The  choir  has  a  triforium  of 
square  openings  with  columns.  The  roofs 
are  all  of  wood,  except  those  of  the  choir 
aisles,  whicli  are  vaulted.  The  aisles  are 
lighted  by  small  single-light  windows  high 
in  the  wall.  The  apse  is  thought  to  have 
undergone  little  alteration  since  the  end  of 
the  X  cent.,  but  the  greater  jsart  of  the 
church  was  rebuilt  about  121(3  by  ^larclii- 
onni,  a  local  architect.  The  canijjanile 
dates  from  1330.     (See  Fig.  U.) 

There  are  remains  of  a  Romax  Amimii- 
THEATRE  in  the  garden  of  the  church  of 
S.  Bernardo.     The  walls  are  of  reticulated 
work. 
ARCiOS.  Greece. 

Her.kum,  or  sanctuary  of  Hera,  one 
of  the  most  noted  sanctuaries  of  Greece. 
The  sanctuary  occupied  three  terraces, 
on  Mt.  Euboia,  about  two  miles  from  My- 
ccnif,  and  was  undoubtedly  of  Mycena'au 
foundation.  Besides  the  Temple  of  Hera, 
it  (contained  stoas.  lodgings  for  temple- 
servants,  and  other  structures.  The  old 
Temi>le  of  Hera  built,  in  part  at  least,  of 
unburnt  brick,  occupied  the  highest  ter- 
race. It  was  burned  in  423  B.C.,  and  was 
rebuilt  by  the  architect  Eupolemos  on  the 
middle  terrace.  The  latest  excavations, 
begun  in  1892  by  the  American  School  at 
Athens,  are  still  (1894-)  incomplete.  The 
new  temple,  Doric,  hexastyle,  had  twelve 
columns  on  the  flanks,  and  a  cell.i  with 


ARICCIA 


imiiuios  and  cpiiiaos.  In  the  intcridr  <ir 
the  cella  were  two  ranges  of  live  ((ihiinns. 
The  exterior  dimensions  of  l\w  founda- 
tions are  05^  ft.  by  130  ft.,  making  the 
temple  somewhat  larger  than  the  so-calk-d 
'I'hrst'um  at  Athens  :  the  ))r()naos  was  '-ii 
ft.  wide  antl  15  ft.  deep.  'The  widlh  of 
the  portieo  in  front  of  the  pi'onaos  was 
from  10  ft.  to  13  ft.,  on  the  Hanks  -l  ft. 
less,  and  in  the  real-  pniliahly  alioiil  T  ft. 
more.  One  peristyle  capital  has  been 
found.  It  has  twenty  channels,  and  the 
curve  of  the  echinus  is  very  graceful. 
.Several  interesting  pieces  of  sculpture  have 
been  found,  among  them  a  line  head  nf 
abont  life-size  and  Polycletan  type,  whicii 
has  been  identilied  as  a  Ilera.  A  very 
large  and  valuable  find  has  been  made  nf 
archaic  terra-cottas  and  .Myccna'an  pot- 
tery. Ill  the  newer  tenqilc  was  placed 
the  colossal  chryselepliaiitine  statue  of 
Hera  by  Folycletus,  one  of  the  famous 
works  of  antiquity. 

'rHEATKi:.  on  the  east  side  of  city,  at 
south  foot  of  the  Acropolis.  The  scats 
are  mostly  excavated  from  the  solid  rock  ; 
the  ends  of  the  rdirn.  as  restored  by 
the  Romans,  were  foniietl  of  large  masses 
of  rude  stones  and  mortar,  faceil  with  reg- 
ular masonry,  but  are  now  slia))elcss  heaps 
of  rnbiiish.  The  excavated  part  shows 
sixty-two  surviving  tiers  of  scats  separat- 
ed by  two  jn-ecinetions  or  iliazomnin  into 
three  ranges.  Greater  diameter  •l.'iO  ft., 
orchestra  200  ft.  ;  seating  capacity  ir>.000 
to  20,000.  The  excavations  of  1801  dis- 
clo.sed  remains  of  a  Roman  hif/fioii  or  stage. 
An  uiulerground  passage  leads  from  be- 
hind the  i)ro.scenium  to  the  orchestra,  as 
at  Kretria,  Sicyoii.  ^Magnesia,  and  Trallcs. 
AlJIfCIA  (La  Kiccia)",  Italy. 

AxoiEXTCAf.sEWAY,  by  whicli  the  Via 
Appia  crosses  the  Vallariccia.  It  is  a  truly 
impressive  work,  700  ft.  long  and  about 
40  ft.  high  where  the  valley  is  deepest. 
It  is  built  of  excellent  ashlar  in  ;;(>/;«•/;( o, 
and  is  traversed  by  three  arcjiways  for  the 
How  of  water.     Tlie  width  is  about  40  ft. 


St  A.  .Mahia  AssrxTA.  A  Renaissance 
church  built  liy  Alexander  \'ll.  in  1CG4 
from  the  designs  of  Bernini.  Its  j^lan 
is  a  circle  with  a  projecting  arcaded 
portico  covered  by  a  gable  and  flanked 
by  two  wings  faced  with  coujiled  col- 
umns. Oil  the  interior  tiie  wall  surface 
has  an  order  of  Corinthian  pilasters  with 
arches  in  the  intervals,  above  which  is  a 
dome  decoraleil  witli  reliefs  liy  Antonio 
Raggi. 

ARLMINUM.     Sec  Niwini. 
ARPIXO  (anc.  Arpinum).  Italy. 

Walls.  The  Cyclopean  fortification- 
walls  of  the  citadel,  in  large  irregular 
blocdvs.  arc  among  the  most  remarkable 
extant  spccinn'iis  of  tliis  construction  in 
Italy.  Ill  the  stretch  of  wall  descend- 
ing from  the  citadel  there  is  a  gate  about 
'iO  ft.  \yu\v.  closed  in  by  corbelling  the 
suiierimposed  courses,  and  cutting  the 
oj)eiiing  left  to  the  shape  of  a  jiointed 
arch.  This  gate  is  almost  identical  with 
the  gate  at  Thoricus  in  Attica,  but  is 
larger.  It  is  now  called  the  Porta  dell' 
Areo.  A  Roman  arch  of  fine  construc- 
tion now  serves  as  one  gate  of  the  citv. 
ARRKTIUM.  He.cArezzo. 
ARSAGO.  Italy. 

8.  ViTTOiiio.  tlic  ancient  church,  is  a 
simple  brick  basilica  with  iia\c  ami  aisles 
separated  by  alternate  columns  ;ind  sipiare 
piers,  with  roiiiul  arches,  and  a  high 
clerestory.  NaA'c  and  aisles  are  roofed 
with  wood  and  each  ends  in  an  eastern 
a]ise.  The  whole  design  and  construc- 
tion are  extremely  sini])le.  The  Baptis- 
tery stands  directly  in  front  of  the  west- 
ern facade  of  the  cliiircli.  with  a  central 
octagon  about  2')  ft.  in  dianicter,  en- 
closed by  two  stories  of  roiiiid  -  an-licd 
arcades  with  columns.  The  arches  of  the 
first  story  open  into  barrel-vaulted  niches. 
except  in  the  ca.se  of  the  eastern  niche, 
which  is  round  and  has  a  semidome.  In 
the  second  story  is  a  surroumling  gallery, 
vaulted  in  trajiezoidal  bays,  and  the  clere- 
story wall  is  carried  up  as  a  sixteen-sided 


AftCOLl 


polygon  covered  hy  a  full-eentrccl  dome, 
also  with  sixteen  sides.  The  exterior  is 
simple.  Small  coupled  windows  light  the 
upper  gallery,  and  arched  corbel-tables 
finish  all  the  eaves,  and  the  roofs  are  of 
stone.  The  clerestory  appears  as  an  ar- 
cade of  sixteen  round  arches.  The  date 
of  the  building  is  unknown. 
ASCULI  (anc.  Asculum).  Italy. 

The  C.\TiiEi)UAL  of  S.  Emidio,  built  of 
travertine.  The  nave  and  aisles  date,  ac- 
cording to  an  inscription,  from  14S1.  but 
the  greater  part  of  the  church,  including 
the  Renaissance  fa5ade,  attributed  to  Nic- 
ola Filotesio.  better  known  as  Cola  dell' 
Anuitrice,  is  of  the  xvi  cent.  This  fayade 
is  rigidly  symmetrical,  the  angles  and  the 
lines  of  the  nave  piers  marked  by  flat 
pilasters  with  engaged  three-quarter  Co- 
rinthian columns  carrying  an  entablature 
and  balustrade,  which  finishes  the  front. 
In  the  central  division  is  a  great  doorway 
with  small  grouped  windows  al)ove,  and  in 
each  side  a  round  niche  and  a  square  pan- 
el. The  two  towers  are,  however,  of  the 
early  church.  One  is  unfinished.  The 
crossing  is  covered  by  a  dome.  The  nave 
and  aisles  are  simple  and  heavy,  the  ar- 
cades resting  on  plain  s(|uare  piers.  The 
most  interesting  feature  of  the  church 
is  the  crypt,  which  extends  under  the 
choir  aud  transept,  and  is  divided  by 
small  columns  and  arches  into  square 
groined  bays.  The  columns  of  granite 
and  marble  are  disposed  in  eleven  rows 
leugtinvise  of  the  church  ;  their  cubic 
capitals  are  rudely  ornaniente<l. 

S.  Francesco.  A  Gothic  church,  per- 
haps of  the  XIV  cent.,  about  200  ft.  long 
and  80  ft.  wide,  the  nave  and  aisles  of 
vaulted  bays  separated  by  five  octagonal 
piers  on  each  side,  with  j)ointed  arches. 
There  is  no  clerestory,  the  aisles  being 
nearly  as  high  as  the  nave.  The  cro.ssing 
is  covered  l\v  an  octagonal  dome  carried  on 
four  pointed  arches,  with  squinches  in  the 
angles.  The  whole  transept  is  raised  five 
steps  above  the  nave,  and  only  divided  by 


single  broad-pointed  arches  in  the  line  of 
the  nave  arcades  into  tiirce  vaulted  bays. 
It  has  two  vaulted  semicircular  apses  cm 
each  end  and  three  on  the  east  wall,  rising 
as  high  as  the  walls.  The  square  west  front 
has  a  pointed  doorway  and  three  square- 
headed  windows  above.  The  flanks  are  di- 
vided by  slender,  flat  pilaster-strips,  with 
narrow  pointed  windows  between.  The 
southern  porch  in  two  stories  has  a  pointed 
arched  opening  below,  and  above  is  a  Re- 
naissance niche  with  a  statue  of  Pope  Ju- 
lius II.  The  eastern  apses  are  flanked  by 
two  high  stone  turrets  with  spire  roofs. 
On  the  north  flank  is  a  cloister  with 
groined  corridors  and  jjointed  arches. 

S.  Giovanni  Battlsta  is  a  .small  bap- 
tistery— an  octagon  rising  out  of  a  square, 
and  roofed  with  a  high  octagonal  dome 
and  stone  lantern.  The  corners  are  occu- 
pied by  niches,  and  covered  externally 
by  broach  roofs.  There  are  plain  door- 
ways on  two  sides,  and  above,  in  each  face, 
is  a  blind  triple  arcade,  on  slender  en- 
gaged shafts.  It  was  probably  an  ancient 
Roman  building. 

There  are  important  remains  of  the  an- 
cient WALLS,  with  a  britlge.  and  a  note- 
worthy gate  on  the  west  side  of  the  town. 
There  are  also  ruins  of  a  theatre  and  an 
amphitheatre.  The  cathedral  stands  on 
the  foundation,  still  recognizable,  of  an 
ancient  temple,  said  to  be  of  Hercules. 
ASIX  KALESSI.  See  /r/.w. 
ASPENDOS,  Pamphylia,  Asia  Minor. 

Roman  Aqueduct,  crossing  the  jdain  on 
a  long  series  of  arches,  much  of  which  sur- 
vives. It  presents  a  noteworthy  feature  in 
the  interruption  of  the  course  by  two  lofty 
siphons,  supported  on  curious  combina- 
tions of  arches  of  different  heights,  with 
tower-like  structures  in  the  middle  to  af- 
ford means  of  ascent.  Tiie  object  of  these 
siphons  may  have  been  to  break  the  swift- 
ness of  a  descending  current. 

Theatre,  the  best  jjreserved  of  amient 
theatres,  and    the    finest    in    Asia   Minor. 


nothing  being   wanting  but   the  columns 


21 


ASSIST 


aixl  roiif  of  the  .st<ige-striicl\iri-.  It  was 
liiiilt  (liiriiii;  tlio  roijjiis  of  Antoninus  I'ius 
anil  Ijia-ius  W'riis.  Iiv  the  iiiTliitect  Zeno. 


ami  eighteen  in  the  upper.  There  is  a 
irallerv  above  the  eavea.  with  an  arcade  of 
fiftv-three  arches.      Behind  the  stage  is  a 


Fig.  15. — Aspendos,  Theatte. 


Tlie  exterior  diameter  is  'MO  ft.,  orchestra 
8.")  ft.,  dejith  from  inner  facade  of  stage- 
structure  to  back  wall  of  cavea,  313  ft. 
The  massive  castle-like  outer  fa5ade  of  the 
stage-building,  of  large  blocks  of  breccia, 
with  rough-hewn  faces,  has  its  chief  door, 
with  a  jirojecting  porch,  in  tlie  middle, 
anil  three  superimj)osed  ranges  of  windows 
above.  At  each  end  of  the  stage-liuilding 
a  wing  projects  inward,  with  a  door  U'ad- 
ing  upon  the  stage,  and  cominunieation 
from  without  by  a  vaulted  passage  with 
the  orchestra.  The  inner  fayade  of  the 
stage-building  has  five  doors,  and  was 
decorate(l  by  two  ranges  of  coupled  col- 
umns or  pedestals,  the  lower  range  Imiic. 
the  ujiper  Corintliian.  All  the  interioi'  dec- 
orations were  of  wiiito  marble.  The  seats 
are  all  intact,  and  the  eavea  is  divided  hor- 
izontally by  a  single  preeinction ;  there 
are  twenty-one  tiers  in  the  lower  division. 


large  hall,  above  which  are  two  galleries  : 
at  each  end  of  the  hall  is  a  stair  leading 
to  the  u])])er  stories,  in  which  are  several 
rooms  with  painted  walls.  (<sVr  Fit/.  15.) 
ASSISI  (anc.  Assisium),  Italy, 

The  Catiikdh.vl.  dedicated  to  S.  liufo. 
or  Hufino,  martyr,  of  a.d.  38(1,  is  an  early 
Gothic  church,  fiuindcd  bcfoi-c  I  150,  with- 
out transept,  with  nave  aiul  aisles  of  five 
bays,  tluise  of  the  aisles  s(|uarc  and  groined, 
those  of  the  nave  oblong,  with  liai  rcl  vaults 
crossed  by  transverse  arches.  .\t  the  east 
end  is  a  large.  octagon-<lonicil  chuir,  a 
square  cha|)cl  with  rouud  ajise  opening  from 
its  eastei'u  side.  A  large  clia|)el  dedicatcil 
to  the  I  loly  Saci'auK'iit  opens  fi'om  the  west 
end  of  the  south  aisle.  The  whole  interior 
was  modernized  in  the  xvi  cent,  by  (ia- 
leazzo  .Vlessi.  1'he  west  front  is  in  two 
stages,  covered  by  a  high  plain  gal)le  en- 
closing a  blauk-iiointed  arch.     The  pan- 


ASSIST 


clleil  lower  stage  has  three  rouiul-urelieil 
doorways  witli  reliefs  in  the  tympana.  A 
blind  arcade  of  small  round  arelies  separ- 
ates it  from  the  seeoiid  story.  The  cam- 
panile is  square,  with  a  plain  wall,  ending 
in  two  stories  of  small,  round -arched 
openings.  Under  the  cliureh  is  a  cry2)t, 
believed  to  be  as  old  as  1028. 

S.  FK.vscESf'o  (St.  Francis).  One  of 
the  most  interesting  churches  in  Italy, 
and  perliajjs  that  iu  which  the  Uothic 
spirit  may  be  said  to  have  most  comi)letely 
governed  the  design,  and  in  which  iiying 
buttresses — a  very  unusual  feature  in  Ital- 
ian architecture — were  used  to  meet  the 
thrust  of  the  vaults.  It  consists  of  two 
churches,  one  above  another,  2.30  ft.  long 


fine  tracery.  In  the  gable  is  a  smaller  cir- 
cular window,  without  tracery.  This  front 
is  a  mask,  having  no  relation  to  the  interior 
disposition  of  the  (diurch.  On  the  south 
side  ri.ses  a  square  campanile  iu  four  stages, 
the  upper  stage  being  a  plain  open  belfry. 
Within,  the  upper  church  is  a  long  Latin 
cross,  consisting  of  a  nave,  without  side- 
aisles,  about  30  ft.  wide  and  (i()  ft.  high, 
ending  in  a  choir  with  a  round  apse  of 
equal  width,  and  a  transejjt  of  a  single 
square  bay  on  eai'h  side.  The  walls  of  the 
nave  are  broken  by  grouped  shafts  with 
foliated  cajntals  into  four  square  bcf\'s,  in 
each  of  which  is  a  narrow  pointed  two-light 
window  with  very  early  painted  glass. 
The  trausejits  liave  grouped  windows  with 


Fig.  16. — Assisi,  S.  Francesco. 


ami  I  mi  ft.  across  the  transej)t.  rising  from 
the  steep  hillside  at  the  to})  of  which  the 
town  is  built.  The  upper  church  has  a 
simple  front  with  a  single  gable  of  medi- 
um pitch,  a  deep-splayed  doorway  of  two 
pointed  and  cus])ed  arches,  under  an  en- 
closing arch,  and  a  rich  rose  window  with 


four  j)ointed  o])euings.  Nave  and  trauscjit 
are  vaulted,  and  the  thrust  of  the  nave 
vault  is  met  by  turret -like  buttresses 
on  the  outside  of  the  clerestory,  and  flying 
buttresses.  Walls  and  vaults  are  covered 
with  frescoes  of  the  earliest  jiei'iod  of  Ital- 
ian art,  still  in  tolerably  good  preservation. 


ASSIST 


some  of  them  attrilmti'il  to  ( 'iiiialinc.  'I'lu' 
side  walls  arc  thiiiiu'i]  at  a  ]i(>iiit  just  l)i'lo\v 
till'  s])rint;  of  the  vault,  L,nviug  rooui  for  a 
iiari'ow  jiassage  from  end  to  cud  of  the 
cliurcli.  The  choir  is  surrouiuled  hy  a 
ranjje  of  stalls  by  Saiisoviuo  (ladl).  uitli 
ir  d)led  ('aiioi)iesof  late  style.  (Scr  l-'iij.  I'i. 
Seeliou.) 


rior  ilail<.      At   tl ud  of  each  trafisept  is 

a  small  i)olyf;oual  cliapel  ;  a  similar  chapel 
opens  fnjin  tlu^  south  end  of  the  narthex. 
These  chajiels,  as  also  the  north  aisle  and 
perhaps  the  tower  on  the  south  side, 
were  built  later  by  Filippo  di  Canipello. 
As  in  the  uj)per  church,  the  walls  ami 
vaults   are  covered   with  frescoes   by   the 


Fig.  17. — Assisi,  S.  Francesco,  Lowe*  Church. 


The  terrace  before  the  church  is  hounded 
by  a  retaining  wall,  at  the  foot  of  which 
is  a  lower  terrace,  from  which  the  lower 
church  is  cTitered  by  a  richly  decorated 
(iotliic  doorway  under  a  projectinir  round- 
arched  porch,  opening  into  a  long  vesti- 
bule or  narthex  across  the  front.  Its  plan 
is  substantially  the  same,  with  the  addition 
of  a  narthex  crossing  the  front  and  a  line 
of  chapels  on  either  side  the  na\c.  The 
vaults  are  low,  the  windows  small,  the  inte- 


eai'ly  Italian  ma.sters.  including  Giotto. 
wlio.se  [laintings  on  the  vault  over  the  high 
altar  (which  stands  over  the  spot  where 
the  supposed  body  of  St.  Francis  was  dis- 
coverc(l.  in  ISIS),  representing  the  gloriti- 
cation  of  the  saint,  and  the  virtues  of  pov- 
erty, chastity,  and  obedience,  are  esteemed 
among  the  finest  of  his  works.  After  this 
discovery,  an  ornate  crypt  was  construct- 
ed about  the  spot,  extending  under  the 
nave  and  choir,  in  the  form  of  a  cross,  63 


n 


ASSOS 


ft.  widf  and  lOS  ft.  long,  in  the  Doric 
st;_vl(!.  Tliu  building  of  these  chnrclies 
beg;in  in  1228.  Tlie  lower  cluucli  was 
finislied  in  four  years ;  the  upjier  was 
dedicated  by  Pope  Innocent  IV.  in  1253. 
The  first  architect  was  a  German,  Jacob 
of  Meran,  in  the  Tyrol.  He  was  followed 
by  Filippo  di  C'ampello,  wlio  apj)ears  to 
liave  been  a  monk  attaclied  to  the  convent 
of  St.  Francis  at  Assisi.  On  account  of 
its  position  the  church  fronts  eastward 
toward  the  town  ;  it  overluings  the  west- 
ern declivity.     {See  Fiij.  17.) 

Convent  of  S.  Fhaxcesco.  A  vast 
and  irregular  mass  of  buildings  surround- 
ing the  church  on  the  south  and  west,  and 
built  uji  from  tlie  descending  hillside  on  a 
basement  oi  tall  round  arches,  'i'lio  build- 
ings are  jiartiuUy  suri-duniled  by  an  njien 
vaulted  arca.le,  and  enclose  two  cloistei's. 
A  larger  court  lies  to  the  southeast  of  the 
church,  enclosed  by  open  arcades,  and  con- 
nected by  a  staircase  with  the  terrace  from 
which  the  upper  church  is  entered.  The 
buildings  of  the  convent  grew  gradually 
abdut  the  church,  and  the  earlier  portions 
are  nearly  contemporary  with  it. 

Sta.  Makia  ])E(ii,r  AN(ii;i.i.  A  Renais- 
sance church,  built  outside  the  town  by 
Pojie  Pius  V.  about  1.569,  to  replace  a 
smaller  church  of  the  xiii  cent,  which 
had  become  too  small  for  the  increasing 
crowds  of  pilgrims  who  gathered  every 
year  at  the  festival  of  St.  Francis.  The 
church  is  of  great  size,  its  plan  being  a 
rectangle  about  185  ft.  wide  and  375  ft. 
long.  The  nave,  nearly  GO  ft.  wide,  is 
covered  by  a  barrel  vault  and  separated  by 
five  round  arches  on  each  side  from  the 
aisles,  which  are  in  square  domed  bays, 
from  each  of  which  opens  a  square  chapel. 
The  nave  and  aisles  open  by  round  arches 
into  the  transept,  which  is  barrel-vaulted 
like  the  nave,  while  the  crossing  is  cov- 
ered by  a  very  high  dome  66  ft.  in  diam- 
eter, raised  on  a  drum  encircled  within 
and  without  by  an  order  of  coujjled  Corin- 
thian ])ilasters.    From  the  crossing  oj)ens  a 


barrel-vaulted  choir  with  a  round  apse. 
Under  tlie  great  dome  stands  the  Porzitai- 
cula,  so  called,  the  oratory  or  dwelling  of 
St.   Francis,  in  the  form  of  a  small  chape! 


Fig    18- — Assisi.     S   M.  degli  Angeii. 

about  20  ft.  by  37  ft.,  with  a  gablcil  niiif. 
and  a  round  apse  at  the  east.  The  choir 
is  Hanked  by  two  rather  low  square  tow- 
ers with  whimsical  belfries.  The  design 
of  the  church  is  believed  to  be  by  V'ignoia, 
but  the  name  of  Galeazzo  Alessi  is  also 
connected  with  it.  The  church  was  much 
damaged  by  repeated  earthquakes  in  IS.'il- 
32,  but  was  restored  in  1840.  {Sec  Fig. 
18.) 

Temple.  The  liexnstyle  portic'o  of  a 
Eoman  temple  of  Minerva,  with  its  pedi- 
ment, survives  in  good  jireservation,  witli 
beautiful  fluted  Corinthian  columns  of 
travertine.  It  serves  now  for  the  church 
of  Sta.  Maria  della  ilinerva.  It  is  of  the 
time  of  Augustus,  and  is  the  best  jjreserved 
temple-front  in  Italy,  elegant  in  propor- 
tions and  details.  The  cella.  more  or  less 
altered,  forms  the  body  of  the  church. 
ASSOS  (modern  Behram),  Asia  Minor. 

B.\THS,  the  most  purely  Greek  example 


ASSOS 


klliiwil.     nil     tlic     ti'lTMCf     next      liclnw     llie 

ajjoni.  The  lowi'st  story  coiiiprisLMl  tliirtet'ii 
I'huinbers.  each  witli  a  basin  and  a  ivscr- 
voir  for  water.  The  floors  were  eemeiiteil, 
and  the  clianiliei's  encrusted  with  niarl)Ie. 
In  front,  lower  down  the  slo2)e,  were  Ro- 
man baths. 

BoiLErTEUiiiN'.  or  Senate  llou.-je.  It 
was  a  large  sijuarc  luiilding  with  a  portico 
of  live  eoliunns  in  fi'ont,  the  ceiling  suji- 
]K>rted  upon  four  columns,  widely  sjiaced. 
In  front  of  it  there  is  a  rostrum  for  pub- 
lic speaking. 

BuiDGE,  one  of  the  very  few  surviving 
Greek  bridges,  ei'o.ssing  the  river  Satnio- 
ei.s  (modern  Tongla).  on  the  Alexandria 
'I'roas  road.  A  number  of  the  piers  sur- 
vive, of  elongated  diamond  shape,  11  ft.  10 
in.  long,  in  large  blocks  carefully  fitted 
together  with  joggles.  Ijetter  to  resist  the 
current.  They  staml  about  10  ft.  from 
centre  to  centre.  The  idatform  of  the 
bridge  was  formed  of  four  lintels,  side  by 
side,  bonded  together  by  swallow-tailed 
wooden  dowels.  The  lintels  remain  upnii 
three  of  the  piers. 

FOKTIFICATIOX  Wai.i.s.  among  the 
most  perfect  and  instructive  examples  of 
CJreek  works  of  this  class.  They  can  be 
followed  along  the  greater  part  of  Ihcii' 
extent  of  about  two  miles,  and  in  manv 
places  are  jiractically  |icirert  ami  rise  to 
a  height  of  (50  ft.  The  latest  walls,  built 
by  Lysimachos  in  the  IV  cent.  is.c.  are 
in  rectangular  blocks  closely  jointed.  In 
some  places  polygonal  walls  are  enclosed 
in  this  regular  masonry.  The  walls 
seem  to  be  of  stone  throughout.  In  one 
of  the  towers  a  true  vault  occurs  ;  Ijut 
in  some  of  the  gates  round  m-  pniiilcd 
arches  are  cut  from  horizontal  courses. 
Other  gates  have  their  sides  coi'bcUed  out 
to  receive  the  lintel.  The  chief  gate- 
way, on  the  western  side,  on  the  ancient 
road  to  Alexandria  Troas.  is  flanked  liy 
great  square  towers. 

Gymxasium,  a  rectangular  walled  en- 
closure of  considerable  extent,  with    por- 


ticoes on  at  least  two  sides,  and  a  pro- 
jecting apse,  jxilygonal  on  the  exterior 
and  semicircular  within,  near  the  eastern 
angle  of  the  wall.  Next  the  apse,  and  be- 
longing to  a  building  connected  with  it,  is 
an  elaborate  and  careful  marble  mosaic,  in 
colors,  including  yellow,  red.  blue,  white, 
ami  orange.  It  covered  at  least  :iOO 
square  yards.  The  building  was  a  I4v- 
zantine  basilica  of  early  date. 

IIhkoox  or  chapel,  at  the  western  end 
of  the  baths,  containing  the  sarcophagi  of 
three  heroes — C'allisthenes,  Aristias,  and 
Callisthenes.  On  the  lintel  are  inscribed 
the  thanks  of  the  people  to  the  heroes. 
The  little  building  was  Doric,  prostyle, 
tetrastylc.  with  three  steps. 

Xeckoi'oli.s,  extending  beneath  the 
walls  for  a  long  distance  along  the  i-oad  to 
Alexandria  Troas,  outside  of  the  princi- 
pal gate.  jMost  of  the  tombs  are  arranged 
along  the  terraces,  between  the  walls  and 
road.  Many  are  sculptured  sarcophagi 
of  graceful  proportions  ;  others  are  archi- 
tecturally disposed  vaults  of  some  size, 
with  benches  carried  around  their  walls  ; 
still  others  are  built-up  mausolea.  The 
tombs  range  in  date  from  early  Greek 
d;iys  to  the  late  Komau.  it  is  interesting 
to  note  that  the  Assian  stone — la/iis  J.v- 
siHK — was  much  s(Higlit  after  in  anti(|uitv 
tor  purposes  of  burial,  and  that  to  the 
supposed  property  of  this  stone  of  con- 
suming the  flesh  of  the  body,  is  due  the 
Word  sarrnphagux  (fle.sh-cating),  as  applied 
to  a  stone  chest  to  receive  a  dead  body. 

Stoa,  fronting  on  the  agora  terrace,  on 
thesouthern  slope  of  the  .Vcropolis.  It  was 
IS'.'T  ft.  long  and  two  stories  high.  The 
lower  order  was  Doric,  resting  on  rmir 
stej)s.  The  intei'ior  range  of  columns  was 
very  widely  sjiaced,  showing  that  all  the 
ceilings  were  in  wood,  and  holes  for  the 
ends  of  the  ceiling-beams  remain. 

Tempee  (of  Athena  ?).  on  the  Acroji- 
olis.  It  was  Doric,  hexastyle,  ])eriii- 
ti'ral.  and  had  thirteen  columns  on  the 
flanks,  on  a  stylobate  of  two  steps.     The 


AS'l'I 


cellii  had   two  eohimns  in   an/is   in   tlie     expedition,  most  arc  now  in  the  Museum 

pronaos,  and  no  opisthodomos.     The  ste-     at   Constantinople,    tliough   some   of    the 

reobate  was  formed  in  places  by  smootli-     cliief  pieces  are  in  the  iluseum  of  Fine 

injj  off  the  natural  rock.     The  blocks  of     Arts    in    Boston.      They    are    important 

tlie  stylobate  steps  were  secured  by  iron     not  only  as  a  connected  series  of  archaic 

clamps  set  in  lead.     Part  of  the  interior     work,    but   for    exhibiting   the   influence 

of  the  cella  was  paved  with  a  mosaic 

in  cubes  of  lilack  and  white  marble.  ...^i^^^:i<jx,^"^^ ■ . 

The  columns  liad  no  entasis.     In  the 

pronaos  tJiey  had  eigliteen  cliannels, 

in  the  peristyle  sixteen,   so   placed 

that  arrises  lay  in   the  axes  of  the 

plan,  instead  of  channels  as  is  usual. 

The  capitals  are  wide-spreading,  l)ut 

of  vigorous  outline,  with  three  aji- 

proximately    rectangular    annulets, 

and  an  incision  at  the  junction  with 

the  shaft,  the  epistyle-beams  triple. 

'I'lic  frieze  and  cornice  present  some 

archaic   di.si3ositions   of   design   and 

construction.    Neither  mutules  nor 

ulaj  bore  gutta?.     The 


Fig.  19. — Assos,  Temple. 

of  Oriental  elements  upnu  Hellenic  mo- 
tives, as  in  the  two  affronted  sphynxes  on 
each  facade.     (Sre  Fir/.  UK) 

The.vtke.  All  the  uj)j)er  part  of  the 
auditorium  has  perished.  The  lower  .seats 
are  in  place,  also  the  foundations  of  the 
stage-structure.  The  orchestra  is  unj)aved, 
and  is  surrounded  by  a  balustrade.  The 
theatre  had  two  (liazfDintht  or  horizontal 
passages,  and  a  gallery  around  the  to]). 
In  plan  it  is  less  than  a  semicircle. 
ASTI,  Italy. 

B.VPTiSTERY.  A  characteristic  exami)le 
of  the  detached  baptisteries  of  northern 
Italy.  The  building  is  twenty-four  sided, 
of  brick,  with  a  diameter  of  about  ^yi. 
ft.  In  the  centre  is  a  ring  of  eight  low 
columns  carrying  stilted  rouiul  arches, 
upon  which  is  a  plain  unbroken  wall 
about  ;52  ft.  high,  bearing  a  hemispherical 
provincial  position,  it  must  be  distinctly  vault,  covered  by  a  wooden  roof.  x\gainst 
older  ihan  the  temple  of  .Egina.  this  wall  al)uts  the  encircling  roof  of  tin; 

A  notable  feature  of  this  temple  is  the  round  aisle,  which  is  vaulted  in  trajie- 
highly  archaic  sculpture  of  its  front  and  zoidal  compartments.  The  architectural 
rear  epistyle  and  metopes.  Seventeen  details,  wrought  on  sandstone,  are  very 
f I'agments  of  this  sculpture  have  been  in  simple  and  early  in  character.  It  is  likely 
the  Louvre.  Paris,  since  1838  ;  of  eleven  that  the  central  octagon  was  an  independ- 
new   fragments,  found   by  the    American     ent  structure  of  the  Lombards  about  which 

27 


reg- 
cymatium  at  the 
corners  of  the  pediments  was  adorned 
with  lion -heads  of  archaic  tvise.  Over 
the  cornices  of  the  sides  were  terra-cotta 
antetixes  glazed  red  and  black.  The 
roofing -tiles  were  in  terra-cotta,  glazed 
black.  The  temple,  built  of  rough  na- 
tive trachyte,  was  primed  with  stucco. 
The  stylobate  of  the  temple  is  -46  ft.  liy 
100  ft.  on  the  upper  step  ;  the  cella,  "Jfj 
ft.  by  i;}  ft.  ;  the  columns,  3  ft.  in  diam- 
eter, are  8  ft.  to  9  ft.  from  centre  to  cen- 
tre ;  their  height  is  1.")  ft.  8  in.  ;  that  of  the 
whole  order,  23  ft.  3  in.  In  dimensions 
on  the  plan,  it  is  almost  exactly  the  same 
as  the  so-called  Theseum  at  Athens.  In 
date,  though  it  can  safely  be  assigned  to 
the  VI  cent.  R.v.,  Mr.  J.  T.  Clarke  places 
it  later;    making  every  allowance  for  its 


ATHENS 


the  outer  aisle  was  built,  tlie  coiitral  part 
being  also  carried  up  consiiU'rabiy  later, 
jjeriiaps  in  the  x  or  xi  century. 

The  Cathedral  is  a  xiii  cent,  diurcli, 
about  88  ft.  wide  and  270  ft.  long,  of 
mixed  Iloniancsque  and  (Jotliic  design, 
with  some  peculiar  features.  The  interior 
IS  divided  into  a  nave  and  aisles  of  seven  ba  y.s 
each,  oblong  in  the  nave  and  square  in  the 
aisles,  with  clustered  ]iiers  carrying  point- 
ed arches.  The  choir  has  two  rectangular 
groined  bays  and  a  jidlygonal  buttressed 
apse,  the  aisles  end  in  round  apsidal  chap- 
els, the  transejit-arms  consist  each  of  a  .sin- 
gle bay  with  a  projecting  five-sided  apse. 
Over  tlie  crossing,  which  is  the  fourth  bay 
of  the  nave,  is  an  octagonal  lantern  with  a 
low  roof.  The  west  front  is  divided  l)y 
octagonal  buttresses  into  three  compart- 
ments, with  three  pointed  doorways  con- 
nected by  a  blind  arcade  of  tall  pointed 
arches.  Over  each  doorway  is  a  wheel 
window,  and  above  all  is  a  low  broken 
gable  with  arelied  corbel-table.  On  the 
south  wall  is  a  tine  late  enclosed  porch 
with  a  single  pointed  doorway  flanked  by 
grouped  columns,  carrying  arched  cano- 
l)ies  with  statues.  A  detached  campanile 
stands  on  the  south  side  east  of  the  tran- 
sept, with  live  stories  of  round-arched  win- 
dows in  ])airs  and  arcaded  string-courses. 
The  jiresent  church  was  l)uilt  mainly  in 
the  first  quarter  of  the  xiii  cent,  on  the 
site  of  an  older  (\r  cent.)  church,  some 
fragments  of  which  it  embodies.  Tiie 
])(iinteil  vaults  replace  those  whicli  fell  in 
i;!"i:i.  Tlie  .south  p)orch  dates  from  l.")0"-i. 
The  details  of  the  interior  show  inai-ks  of 
the  transition  from  the  round-andicd  to 
the  pointed  style,  while  on  the  exterior 
the  two  styles  are  intimately  mingled. 

8.  8HC0XDO.  A  throe-aisled  cruciform 
Gothic  church,  much  like  the  Cathedral 
in  plan,  but  smaJhM-.  l)nilt  in  the  first  half 
of  tlie  XIII  cent  nry.  Tiie  west  front  is  a 
screen  with  a  broad  single  gable  covering 
Jiave  and  ai.slcs,  and  divided  by  ]»iers  or 
buttresses   into   compartuients   which  are 


lilii'd   with   l)lind   arches.     The  aisles  are 
lined  with  polygonal  chapels. 
ATHENS,  Greece. 

The  Acropolis,  or  ancient  citadel,  is  a 
flat-topped  hill  on  the  southei'u  margin  of 
the  modern  city.  It  is  a  platform  of  lime- 
stone about  200  ft.  high,  l.doii  I't.  long 
east  and  west,  and  less  than  half  as  wide 
north  and  south,  inaccessible  on  all  sides 
except  tlie  western,  wdiere  the  approach  is, 
and  guarded  liy  a  massive  wall,  of  which 
the  northern  half  is  ascribed  to  Themis- 
tocles  and  the  southern  to  Cimon.  On  it 
stand  the  most  famous  of  the  buildings 
of  Athens,  tlie  Parthenon  and  the  Erec- 
tlieum,  anil  tlie  remains  of  the  older  tem- 
ple of  Athena,  while  the  western  approach 
is  guarded  liy  the  Propyhva.  At  the  foot 
of  the  southern  slo])e  of  the  hill,  less  steep 
than  the  north,  and  under  the  wall  of 
Cimon  are,  at  the  east  end,  the  Theatre  of 
Dionysos,  and  at  the  west  the  Odeum  of 
Ilerodes  Atticus  or  of  Kcgilla,  connected 
by  the  long  stoa  of  Eunicnes  (,s'(r  Figx.  ;K>. 
'.'1).  The  southern  wall  serves  in  great 
part  as  a  retaining-wall  tVir  artificial  fill- 
ing, and  corrects  the  lack  of  natural  stce]i- 
ness  on  this  side  of  the  Acropolis.  On 
the  face  of  this  wall,  immediately  over  the 
theatre,  Antiochus  IV.,  Epiphanes,  dedi- 
cated a  gilded  (iorgon's  head  resting  on 
tlie  ^Egis.  Above  the  theatre,  where  the 
wall  is  highest,  it  is  strengthened  by  eight 
square  projecting  buttresses  of  later  con- 
struction. TIk'  north  wall,  or  wall  of 
Themistoclcs,  contains  column-drums  of 
Poros.  and  portions  of  an  entablature  in 
Poros  except  the  metopes,  uhieli  are  of 
marble,  all  these  architectural  fragments 
coming  from  the  old  temple  of  Athena 
thrown  dow  n  by  the  Persians  ;  and  nntin- 
ished  column-dnmis  of  marlile,  intended 
for  the  first  Parthenon,  begun  by  Cimon. 
'i'lie  portions  of  tire  wall  containing  the 
older  temple-reniains  were  undoubtedly 
built  by  Cinion. 

AKcir  oj-  IIadkiax,  east  of  the  Acro]i- 
olis   and    close    to    the    temple   of    Olyni- 


23 


ATHENS 


pi.ui  Zeus.  It  is  not  mentioned  by  P;ai- 
siiuias.  and  niuy  have  been  built  after  his 
visit,  or  even  by  one  of  Hadrian's  suc- 
cessors, and  it  bears  inscrijttions  ('oni- 
nieniorating  tlie  founchitiou  l)y  Hadrian 
of  tiie  suburb  beyond  it  mi  the  cast.  'I'he 
nionumeut  is  -li  ft.  .'!  in.  broad  and  .j'.l 
ft.  higii.  Tlie  arcli  of  the  L;at<'\vay  Inis  a 
span  of  20  ft.  On  citiu'r  side  of  tlio  road- 
way tlie  areli  was  adorned  with  a  detached 
t'orintluan  column.  These  have  now  dis- 
appeared,   but    their    bases  and    the  por- 


lis,  was  occupied  by  the  lonjr  stoa  or 
porch  in  which  were  received  the  sick 
who  sought  the  aid  of  the  god.  In  the 
front  part  of  the  terrace,  some  remains  of 
the  two  temples  can  bo  traced.  The  re- 
maining s])ace  is  shown  by  inscriptions  to 
have  been  occupied  by  votive  otl'eriugs, 
altars,  and  trees.  The  stoa  at  the  Ixick, 
extending  along  the  wdiole  length  of  the 
terrace,  was  about  ;itj  ft.  deep.  Evidence 
appears  of  its  remodelling,  both  structures 
being  Doric.     In  the  interior  of  tlie  stoa 


1.  Partlienon.  5.  Athena  ProraacliO!i. 

2    Proiivhea.  6.  Odeum. 

3.  Temple  of  Nike  Aptcros.  7.  Theatre  of  Dionysos 

4.  Erectheum.  8.  Stoa  of  Eumeues. 


^ 


Fig.  20. — Athens,   Acropolis. 


tions  of  entablature  which  rested  on  them 
survive  in  great  part.  Above  the  arch- 
way is  an  attic  showing  three  rectangu- 
lar openings,  of  which  that  in  the  middle 
is  surmounted  by  a  pediment. 

AscLEPiEUjr  or  Sanctuauy  (if  Askle- 
I'los  (^Esculapius).  immedititely  adjoining 
the  IMonysiac  Theatre  on  the  west.  The 
peribolos,  which  contained  two  temples, 
in  one  of  which  was  an  ancient  statue 
of  the  god.  occnpied  the  eastern  and 
lower  one  of  two  terraces,  about  lli4  ft. 
by  8'.t  ft.  The  northern  portion  of  the 
terrace,  against  the  rock  of   the  Acroiio- 


foundation-piers  remain  of  tlie  inner  lon- 
gitudinal row  of  columns,  with  a  double 
intercolumniation. 

Beule's  Gate,  discovered  by  him  in 
1853  between  two  projecting  towers  at 
the  foot  of  the  incline  sloping  from  the 
Propylsea  on  the  west,  is  now  the  main 
entrance  to  the  Acropolis.  These  towers 
were  probably  built  in  the  first  century, 
when  the  slope  was  covered  with  a  broad 
flight  of  roughly  worked  inarlile  steps, 
to  form  an  approach  more  in  accord  with 
Roman  ideas  of  magniticcnce  tlum  the 
old    winding    Hellenic  way.      I'lider    the 


aa 


ATHENS 

Fniiikisli  rule  the  ])resent  connecting  wall  puintod  witli   figures  of  tlie  prophets  and 

was  built  (if  ancient  materials.  (■ons])ifiions  evangelists,   and   scenes   from   the    life  of 

among  which  is  the  entablature  of  a  !)oric  Christ. 

building,  u.sed  as  a  friez(!  across  the  front.  'i'lie    New    C'ATHKDiiAL.    much    larger, 

The  Old    Catiiedkal,  called   also    the  and  built  at  the  middU'  of  this  century,  is 

Catholicon.    is    a    very   small    Byzantine  basilican  in  ]dan.  embodying  the  remains 

cliurcii.    whose   unrecorded   date  has  been  of  various  older  buildings,  but  is  notable 


Fig    21.  —  Athpns.    Acropolis. 


variously  a,ssigned  to  the  xi.  xii.  and  xiti 
centuries.  It  is  a  parallelopiped  of  white 
marlile.  2h  ft.  by  40  ft.,  from  the  middle 
of  which  rises  an  octagonal  lantern  with 
a  round  donii>.  Tiie  cruciform  j)lan  is 
marked  liy  the  roofs  of  the  nave  aiul 
transept,  rising  above  the  main  cornice. 
and  ending  in  fonr  gables.  Slender  twin 
windows,  filled  with  ]ierforated  nuirl)le.  ,ire 
set  in  these  gables,  and  single  ones  in  the 
faces  of  the  lantern.  ( >\cr  I  he  doors  are 
arches  and  tympana  on  heavy  lintels  in  the 
Italian  fasliion.  Above  the  lintel-e((nrse 
the  up])er  wall  is  built  of  interesting  ffag- 
nients  of  aiitique  (ireek  and  early  l^vzan- 
tine  reliefs  ammged  in  panels.  W  ithin. 
a  vaulted  narthex  takes  a  third  of  the 
church.  The  short  nave  and  aisles,  also 
tunnel  -  vaulted,  arc  separated  by  |ilain 
s(iuarc  jiiers,  though  originally  four  great 
columns  su])])orted  the  dome.  There  are 
three  round  eastern  apses,  of  whicdi  only 
the  middle  one  projects  outwardly  in  a 
half  hexagon,  ami    the  whole  interior    is 


chiefly    for    the    richness   of    its    interior 
decoration. 

Choragic  Monument  oi-  LvsiciiATES, 
erected  in  honor  of  the  victory  at  the 
Dionysia  in  :):i.">-;);5-t  R.r.  of  the  chorus  of 
boys  supporlc<l  by  him.  sometimes  called 
the  Lamj)  of  Diogenes.  It  consists  of 
a  sr|uare  foundation  of  I'iraic  stone,  su]i- 
]iorting  a  circular  edifice  of  Pentelic  niai'- 
ble.  The  roof,  conical  and  slightly  dome- 
shaped,  is  cut  from  a  single  block  of 
marble,  jind  liears  an  elegant  tri]iartite 
acroterium  formed  of  gr;iceful  coudiiiui- 
tions  of  acanthus,  dcsigneil  to  sn]i]ioi't  the 
votive  tripod  awarde(l  as  the  prize  in  the 
Dionysiac  contest.  The  frieze  of  the  en- 
tablature bears,  delicately  carved  in  very 
low  relief,  the  ]iimislnuent  l)y  Dionysos  of 
file  Tyrrhenian  pirates,  who  are  chastised 
by  the  god's  attendant  satyrs,  and  finally 
changed  into  dolphins.  The  entablature 
is  sup])orted  by  six  Corinthian  engaged 
columns,  of  which  the  <'aiiitals  are  treated 
with  great  refinement,  and  the  attic  bases 


so 


ATHENS 


have  no  plinth.  The  intercohimniations 
were  closed  by  thin  slabs  of  marble,  reach- 
ing to  the  capitals.  The  remaining  sjjace, 
up  to  the  architrave,  was  lilled  by  a  band 
of  tripods  of  simple  design,  sculjjtured  in 
low  relief.  The  whole  of  the  sujjerstruct- 
ure  is  much  broken ;  nevertheless  the 
monument  is  the  oldest  example  of  the 
Corinthian  order  which  survives  in  a  state 
approaching  completeness.  The  height 
of  the  foundation  is  about  13  ft.,  that  of 
the  circular  superstructure.  21  ft.  -1  in.; 
the  diameter  of  the  latter  is  9  ft.  2  in. 

CrtORAGIC    MONUMEXT    OF    XlCIAS,    OU 

the  south  or  S.  W.  slope  of  the  Acropolis, 
restored  (188."))    liy    Doritfeld  from  frag- 
ments in  and  near  the  Beule  Gate  of  the 
Acropolis.      A     number     of     architrave- 
blocks,  with  metopes  and   pieces   of  the 
cornice  in  Pentelic  marble,  and  triglyphs 
in  Poros  limestone,  were  employed  in.  the 
construction  and  decoration  of  this  gate. 
The  building  was  erected  in  319  B.C.,  by 
Nicias,  son   of   Xicodemus,  in  commem- 
oration   of    his   victory  with  a  eliorus  of 
boys.     It  was  in  the  form  of  a  Doric  j)ro- 
style  temple,  with  si.x:  columns  in  front. 
and  one,  with  probal)ly  an  anta. 
in  each  flank.     The  workman- 
ship comijares  well  with  that  of 
the  Periclean  buildings.     The 
monument    is   to   be  distin- 
guished   from    the    choragic 
monument  mentioned  by  Plu- 
tarch as  dedicateil  by  the  cele- 
brated  general   Nicias,  within 
the  Dionysiac  jjeribolos.     It  is     ^  ^ 
important  for  the  study  of  ar- 
chitectural polychromy,   as   it 
sui)plies    evidence,     according 
with  that  gained  at  Olympia, 
that  the  triglyph  was  the  only 
member  iisually  painted   in   a 
uniform  color.     In  the  present 
case,  the  triglyphs  alone  were 
made  of  the  cheap  Poros  stone,  colored 
blue.      The   mutules    also    were    painted 
blue  ;  the  spaces  between  them,  brilliant 


red  ;  and  the  upper  moulding  of  the  in- 
side of  the  architrave,  red. 

The  Chouagic  Moximext  of  Tiika- 
svLLis,  dating  from  B.C.  3"-i0,  destroyed 
by  the  Turks  in  182(;,  consisted  of  an 
entablature  borne  upon  three  Doric  pil- 
asters, which  rested  on  a  stereobate  of  two 
steps.  The  architrave  bore  a  dedicatory  in- 
scription ;  the  frieze  was  ornamented  with 
eleven  ivy-wreaths  in  relief.  Above  the  pro- 
jecting cornice  there  was  an  attic  of  three 
steps,  upon  which  was  placed  a  seated  fig- 
ure clad  in  a  chiton  and  himation,  with  a 
skin  about  the  shoulders — probably  Diony- 
sos.    On  either  side  stood  a  metallic  tripod. 

The  Church  of  St.  Theodore  is  a  small 
Byzantine  church  of  picturesque  exterior, 
and  the  plan  wliicli  characterizes  the  later 
Byzantine  churches  of  Greece — a  Greek 
cross  enclosed  in  a  square,  with  the  arms 
of  the  cross  showing  in  the  ridged  roofs  of 
nave  and  transejjt.  Over  the  crossing,  on 
four  piers,  is  an  octagonal  drum  with  shaft- 
ed twin  windows,  carrying  a  dome  with- 
out a  cornice.  The  three  eastern  apses 
are  round  within,  and  polygonal  without. 
(S,-c  Fiy.  -^.) 


Fig    22 —Athens,  St.  Theodore. 

St.  Nicomedes  is  another  Byzantine 
church  similar  in  character  and  plan  to  St, 
Theodore  and  the  C'atholicon, 


31 


ATITETs^S 

Dii'Vi.ON   (iATi;,   tlic  l>e.<t  ])rc'soi-veil  of  bt'autii'nl  tciiijile.      From  its  urcliitcctural 

tlie.  aiifii'iitiratos  of  the  city,  iiiul  the  chief  details,  its  inception  iiiusl  date  from  tlie 

gate  on  the  west  side  and  for  tlie  rejrion  later  years  of  tlie  Age  of  I'ericles.     It  nn- 

on    the    S.    W.,    including    the     I'ira-iis.  douhtedlv    took    the   place   of  an   ancimt 


er^i,  Er'>ctheum. 


Through  it  passed  the  sacred  way  to 
Eleusis.  The  city  walls  here  are  double, 
the  two  lines  being  al)0ut  in  ft.  a})art. 
The  outer  wall  is  about  14  ft.  thick,  the 
inner,  which  is  identified  as  the  wall  of 
Thenustocles.  only  8  ft.  15oth  walls  are 
faced  on  both  sides  with  masonry,  and 
have  a  filling  of  rubble.  Tlu'  inner  wall 
is  partly  faced  with  j)olygonal  masonry ; 
the  outer  is  less  old,  and  is  built  of  quad- 
rangular blocks  of  conglomerate.  The 
gate  itself  has  an  exteiuled  enclosed 
court,  more  than  13(1  ft.  long,  which 
could  be  barred  at  both  ends,  and  was 
flaidvcd  by  towers.  The  passage  is  divided 
at  both  extremities  by  a  massive  ]>ier. 

'i'he  EuiociiTiiEfM,  or  Te.mi'le  ok 
EuKciiTHErs,  the  seat,  at  least  after  the 
old  Temple  of  Athena  had  lost  its  preemi- 
nence, of  the  oldest  and  most  intinuiti^ 
cult  of  Athena  in  her  capacity  as  the  es- 
pecial protectress  of  Athens.  Very  little 
is  known  regarding  the  building  of  this 


temjilc  destroyed  by  the  Persians,  and 
very  probably  succeeded  the  old  Parthe- 
non, which,  as  is  now  believed,  stood  im- 
mediately beside  it  to  the  soutli,  as  the 
honu'  of  Athena  the  local  goddess,  while 
the  new  Parllieiuiu  was  the  cerenu)nial 
temj)le  of  Athena  as  the  personification  of 
.Vthens  victoi'ious  abroad,  and  become  the 
administratrix  of  a  realm.  Inscriptions 
show  that  in  408-7  n.c,  the  temjile  was 
still  nnfinished,  and  that  in  4i).")-4  B.C., 
the  west  end  was  damaged  by  a  tire. 
Other  inscriptions  of  about  the  same  date 
relate  to  various  details  of  architecture 
and  sculpture.  {Sro  Fif/.  ~S.)  In  plan, 
the  ti'mi)le  is  an  oblong  rectangU'.  with  its 
chief  or  front  end  turneil  toward  the  east, 
with  porches,  in  the  form  of  smaller  rect- 
angles, joined  to  it  on  both  north  and  south 
sides,  adjoining  the  west  end.  The  east 
and  south  faces  are  on  a  level  about  10 
ft.  higher  than  the  north  and  west  faces. 
T'he  east  front  consisted  of  a  portico  of 


ATIIE^■,S 


six  Ionic  columns,  resting  on  a  stylobiite 
of  three  stejis,  wliicli  are  contimieil 
around  the  entire  Liiildinir.  The  nortli 
angle  coliimu  was  carried  off  iu  the  be- 
ginning of  the  century  by  Lord  Elgin. 
The  five  remaining  columns  preserve  their 
architraves  and  two  blocks  of  the  frieze 
of  black  Eleusiuian  marble.  The  porch 
on  the  south  side  is  the  famous  Porch 
of  Caryatids,  of  which  the  entablature, 
lightened  of  its  frieze,  but  with  enriched 
cornice,  is  sujjported  on  the  heads  of  six 
sculptured  maidens,  majestically  draped 
— four  in  front,  and  one  on  either  side. 
The  Caryatids  stand  on  a  jjarapet  or 
balustrade  8  ft.  U  in.  high.  The  parapet 
was  interrupted  next  the  wall  on  the  east 
side,  to  give  access  to  a  flight  of  steps 
leading  to  the  westernmost  division  of  the 
interior.  The  north  side  of  the  temijle 
is  approached  from  the  east  by  a  flight  of 
twelve  steps  in  the  open  aii\  The  deep 
north  porch  was  supported  by  six  great 
Ionic  columns,  larger  than  those  of  the 
east  front  and  placed,  like  the  Caryatids, 
four  in  front  and  one  on  either  side.  The 
western  hall  of  the  temjole  is  entered  from 
this  jjorcli  l)y  a  door  of  large  size  fa- 
mous for  its  admirable  design.  A  small- 
er door  in  its  back  wall  leads  into  a  space 
whi(di  was  in  antiquity  an  enclosed  court, 
in  which  grew  the  sacred  jirimeval  olive 
of  Athena,  and  where  were  lodged  the 
two  noble  maidens  who  succeeded  their 
predecessors  every  year  in  the  service  of 
the  goddess.  The  west  face  of  the  tem- 
ple had  four  Ionic  engaged  columns  stand- 
ing on  a  high  wall  between  pilasters  at 
the  angles,  the  intercolumniations  being 
closed  by  a  wall  and  the  three  middle 
ones  jiierced  ))y  windows  with  slightly 
converging  jamJjs.  Tiie  plain  walls  of 
the  building  are  surrounded  beneath  the 
architrave  bj'  an  anthemion  moulding,  con- 
tinued, as  a  necking,  on  the  pilastei's  and 
around  the  columns.  The  ornamental 
mouldings  throughout  the  temple  are  at 
once  elaborate  and  of  the   utmost  refine- 


ment. The  material  of  the  temple 
throughout  is  Pentelic  marble,  with  the 
exception  of  the  Ijlack  marble  frieze  and 
the  Piraic  limestone  of  the  substructions. 
The  interior  has  been  entirely  ruined  by  the 
violence  of  Christian  and  Turk  and  the 
fortune  of  war  ;  but  approximate  certainty 
has  now  been  attained  as  to  its  arrange- 
ment. It  comprised  three  main  divisions  : 
the  eastern  cella,  which  was  the  temple 
proper  of  Athena  Polias,  and  contained  lier 
heaven-given  image,  before  which  burned 
the  eternal  fire  in  the  golden  lamp  of  Cal- 
limachus  ;  a  middle  division,  also  a  cella, 
sacred  to  Poseidon  and  Erechtheus,  with 
whom  were  associated  other  divinities  and 
heroes  ;  and  the  western  hall,  which  was 
entered  from  the  south  by  the  caryatid 
porch  and  served  as  a  vestibule,  was  prob- 
ably divided  from  the  central  cella  by 
some  kind  of  screen  which  admitted  the 
light  of  the  west  windows.  This  cella 
communicated  with  the  east  cella  by 
a  stairway ;  and  under  its  north  side 
was  a  cryp)t,  presumably  the  home  of 
the  Erichtlionios  serpent,  communicating 
with  a  recess  beneath  the  pavement  of 
the  north  porch,  at  the  bottom  of  which, 
in  the  living  rock,  still  appears  the 
mighty  trident-stroke  which  evoked  the 
sea-spring  of  Poseidon.  ]5ut  little  re- 
mains, apart  from  the  Caryatids,  of  the 
plastic  decoration  of  the  Erechtheum. 
The  pediments  were  never  filled  with 
sculpture  ;  but  an  extensive  series  of  re- 
liefs cut  in  Pentelic  marble  was  fixed  upon 
the  black  ground  of  the  frieze.  Interest- 
ing details  of  the  cost  of  these  reliefs  are 
j)reserved  in  inscriptions,  and  a  number  of 
fragments  of  them  have  been  found,  and 
are  now  in  the  Acropolis  Museum.  The 
dimensions  of  the  temple  are  small,  the 
body  of  the  temple  being  only  37  ft.  by 
CG|  ft.,  and  the  cohunns  of  the  east  portico 
22  ft.  4  in.  high,  with  a  lower  diameter  of 
2  ft.  5^  in. 

FouNTAix  Klepsydua,  at  the  K.   W, 
foot  of  the  Acropolis  beneath  the  Projiy- 


B3 


ATHENS 


la>;i.      It    is    apiiriiaclK'il     IVdiii    alinvc    l)y  of   iiiarlilc    octaironal    in    jijaii.   'i>'i    I't.   in 

sixty  -  nine    sU'ps,     partly    rt'stoivd .    and  dianictcr,  and  4-,'  ft.  in  lieij,dit.  iiielndini; 

])artiy  rock-cut.     Tlicso  steps  lead  to  the  the  stereobate  of  tliree  steps,  to  the  top  of 

Hyzantine  Chapel  of  tiie  Twelve  Apostles,  flie   coriiiee   decorated    with    lion  -  jieads. 

about  l.'J  ft.  lonji  ami  0  ft.  (i  in.  wide,  with  'i'here  are  doors  on  the  X.  W.  and   .\.  K. 

dilapidated  wall-jiaintings.     In  the  S.  W.  sides,    originally    with    porches    of    two 

corner  of  the  chapel  a  small  circular  well-  Coi'inthian  t'olunins.  of  which  ca])itals,  of 

hole  about  ;33  ft.  deep  gives  access  to  the  highly  siini)lified  form,  survive.     On  tlio 


Mar- 


up[>er  i)art  or  frieze  of  each  of  the  eigiit 
sides,  is  a  relief,  of  bold  but  rather  coarse 
design,  of  a  winged  figure  representing  the 


fountain,  of  which  the  ancient  rectangular 
basin  is  enclosed  with  marble  slabs. 

G.\TE  OF  THE  NkW  A(iOUA,  or  Ui 
ket.  dedicated  to  .\theua  Arclio- 
getis  (the  Foundi'r  or  Kuler). 
Tlu'  portion  that  survives  is  of 
marble,  and  consists  of  four 
Doric  colunms  sujiporting  i;u 
architrave  and  triglyph -frieze, 
and  a  pedinu'ut  which  is  almost 
com  [lie  te,  t<igethcr  with  tlie 
southernmost  of  the  four  ant;e 
which  originally  formed  three 
doorways  within  the  portico. 
The  width  of  the  portii'o  is  .'!(i 
ft.  <i  in.  The  roliimns.  which 
are  foi'ined  of  si.K  drums  ami 
have  twenty  chaniu'ls.  are  'i'l  ft. 

10  in.  high,  and   -1    ft.  in  diam- 
eter at  the  base.     The  middle  opening  is     wiiul  of  the  corresponding  cpuirter  of  (lie 

11  ft.  2  in.,  to  admit  of  tlie  passage  of  horizon,  the  nanu>s  being  incised  beside 
vehicles,  while  the  side  intercolumniations  the  figures.  ]?eneath  the  reliefs  aie  cut 
are  4  ft.  S  in.  The  nujnument  is  shown  lines  for  sun-dials  of  twelve  hours.  Tlie 
])y  an  insci-iption  on  the  architrave  to  have  i)yramidal  roof  is  formed  of  marble  vous- 
beeu  built  in  the  time  of  Augustus  from     soirs  with   a  cii'cular  keystoiu'.      On   this 


HorologtuFIl   ot   Atidronicus,    or   Tower   o<    in.? 


gifts  made  to  the  city  l)y  Julius  Casar  and 
Augustus.  On  the  k'ft  of  the  middle 
passage,  a  massive  slab  of  marble  still 
stands  in   its  origiiud   jilace,   l)earing   an 


once  stood  a  brass  figure  of  a  Triton 
holding  a  statT.  which  served  as  a  wiiid- 
v.'inc'.  On  tlu' south  side  i)i'oiccts  a  tur- 
ret of  semi<'ircular  plan   which   contained 


edict  of  Hadrian  regulating  the  prices  of  a  water-tank,  sn])plied  by  a  covered  con- 
oil  and  salt,  and  various  other  nuitters.  duit.  This  served  for  the  water-clock. 
Remains  survive  of  the  ranges  of  columns,  of  uncertain  construction,  which  was  con- 
in  blue  llynu'ttian  marble  without  flutes,  nected  with  the  building.  {Sec  Fit/.  2//.) 
with  Ionic  capitals  in  I'entelic,  which  once  Close  to  the  llorologium.  two  arches  and 
skirted  this  agora.  From  the  position  of  a  fragment  remain,  with  fountlations  in- 
these  columns  the  agora  must  have  been  dicating  tlie  presence  of  a  hall  or  porch  of 
about  3-.i.i  ft.  long  and  200  ft.  wide.  i.'omaii  construction.     Inscriptions   ujjon 


]l<)I!OI.()(iIfM0F;\NI»l!0NI(rs.  common- 
ly called  Tower  of  the  Winds,  'i'liis  build- 
ing, erected   in  tlie   first  ceiiturv  li.c.   is 


fragments  of  the  frieze  show  that  the 
liuildiiig,  like  the  gate  of  the  New  Agora, 
was  dedicated   to  .\tliena  Archeiretis,   to- 


34 


ATHENS 


gether  with  members  of  tlie  Roman  im- 
perial family. 

MOXCMENT   OF  AXTIOCHUS    PhILOPAP- 

Pi"S,  grandson  of  Antioclius  IV.,  Ejji- 
l)lianes,  king  of  Syria,  erected  between 
11-t  and  111)  A.D.,  on  the  summit  of  the 
Museum  Hill.  The  facade,  turned  tow- 
ard the  Acropolis,  is  slightly  concave,  the 
original  length  of  its  chord  being  about 
3.'5  ft.,  of  which  about  two-tliirds  remain. 
The  total  height  is  al)out  41  ft.  The 
base  is  formed  of  live  courses  of  Piraic 
limestone,  on  which  is  a  band  of  Hymet- 
tiiiu  aii<l  Pcnteli(^  marble,  over  whicli. 
again,  is  a  frieze  of  marble,  9  ft.  2  in. 
high,  bearing  a  badly  damaged  n-licf  rep- 
rcst-nting  Philopajjpus  in  triumi)h  on  a 
quadriga,  and  extending  the  whole  width 
of  the  miintiincnt.  At  either  side  was  a 
pilaster,  and  above  is  a  cornice  of  bold 
projection.  Tlu'  upper  portion  of  the 
monument  was  divided  into  three  niches, 
of  which  the  outer  two  were  quadran- 
gular, and  the  middle  one  round.  The 
two  surviving  niches  on  tlw3  left  contain 
statues  of  male  vested  figures.  Inscrip- 
tions record  the  titles  and  qualities  of 
Philojiappus,  and  of  the  kings,  his  ances- 
tors. The  rear  of  the  monument  is  in  a 
ruinous  condition  ;  it  probably  included 
a  quadrangular  structure  containing  the 
place  of  sei)ulturc. 

Odeim  of  RmuLLA  or  Theatre  of 
Hf.kodes,  at  the  S.  W.  angle  of  the  Acrop- 
olis. Pausanias  does  not  mention  it 
in  his  account  of  Athens,  and  says  else- 
where that  it  was  not  begun  at  the  time 
of  his  visit.  It  was  considered  the  finest 
building  of  the  kind  in  Greece,  was  entire- 
ly roofed  with  cedar,  and  was  erected  by 
Ilerodes  Atticus  between  100  and  ITO 
A.I).,  in  memory  of  his  deceased  wife 
Kegilla.  Its  massive  remains  were  gener- 
ally considered,  down  to  the  time  of 
Chandler,  to  be  the  Theatre  of  Dionysos, 
an  error  adopted  even  by  Stuart.  The 
interior  was  excavated  in  1857.  Its  great- 
est diameter  within  the  walls  is  about  2()2 


ft.  Its  capacity  is  reckoned  at  10,000 
spectators.  Its  seats  were  divided  by  one 
precinctiou  {diazoina)  ;  the  lower  tier  had 
twenty  rows  divided  into  five  cunei,  the 
upper,  which  is  in  great  part  destroyed, 
about  thirteen,  divided  into  ten  cunci. 
The  height  of  the  seats  is  1  ft.  5  in.,  and 
in  profile  they  resemble  those  of  the  Dio- 
nysiac  theatre.  The  seats  of  the  lower 
tier  were  seats  of  honor,  with  backs.  A 
gallery  ran  round  the  top,  enclosed  by  a 
massive  semicircular  wall  of  Piraic  stone, 
on  which  the  roof  rested.  The  orchestra, 
rather  more  than  a  half  circle,  is  paved 
with  rectangular  slabs  of  dili'erent  colored 
marbles.  At  either  side  are  exit-passages 
(paroi/oi)  along  the  stage- wall,  leading 
down  by  easy  steps  to  doorways  opening 
upon  vestibules  through  which  one  can 
pass  out  to  the  south.  The  stage  is  about 
11.5  ft.  long  and  ;2U  ft.  deep,  and  is  raised 
5  ft.  above  the  orchestra,  with  which  it 
conunnnicated  by  two  flights  of  steps. 
The  front  wall  of  the  stage  was  ornamented 
with  slabs  and  mouldings  of  nuirlde.  In 
the  rear  wall  of  the  stage  are  three  doors, 
the  side  doors  flanked  by  arched  niches  for 
statues.  A  row  of  columns  about  17  ft. 
high  ran  across  the  width  of  the  stage. 
Uj^o'i  their  entablature  jirobably  stood  a 
second  row  of  smaller  columns,  in  front 
of  the  seven  arched  windows  of  the  sec- 
ond storj'.  Above,  some  remains  survive 
of  a  third  story,  also  with  windows.  In 
each  wing  of  the  building  in  the  second 
story  are  two  vaulted  rooms,  communi- 
cating with  the  orchestra,  the  stage,  and 
tlie  precinction  of  the  auditorium.  The 
most  eastern  of  these  rooms  ojiened  direct- 
ly upon  the  great  stoa  or  portico  connect- 
ing the  Odeum  and  the  Dionysiac  Theatre. 
The  exterior  face  of  the  back  wall  of  the 
stage  bears  also  six  niches  for  statues. 
The  exterior  wall  of  the  two  wings  is 
jilain  below,  and  shows  two  upper  tiers  of 
arched  openings,  as  high  as  the  ujiper- 
most  seats  of  the  auditorium.  The 
masonrv  of  tlie  building  is  very  fine  and 


85 


ATHENS 


massive,  the  stone  blocks  large,  ami  ihv 
joints  carefully  cut  and  iittcd. 

Olympiet-M.  Sec  TcnijAc  of  Zeus 
Olyiiipios. 

'i'llC  rAXATIIEXAIcST.VDILM,  Oil  tllC  left 

bank  of  the  Ilissus,  S.  E.  of  the  city,  was 
completely  excavated  by  Zillir  in  ISOii- 
?0.  The  natural  confornialion  of  the 
ground,  a  valley  open  toward  the  Ilissus, 
was  exactly  suited  for  a  stadium.  Lycur- 
gus,  the  orator  and  treasurer  of  Athens  in 
the  middle  i)f  the  iv  cent.  is.c.  surrounded 
the  stadium  witli  a  stone  coping.  Five 
centuries  later  Hcrodes  Atticus  provided 
it  throughout  witii  marble  seats  and 
built  several  costly  buildings  on  the  sur- 
rounding heights — among  them,  a  tem- 
])lc  of  Tyehe  (Fortune),  in  which  was 
placed  a  statue  of  the  goddess  in  ivory. 
The  whole  was  a  subject  of  wonder  to  his 
contemporaries,  and  when  he  died,  he  was 
buried  by  the  city  within  the  stadium 
itself.  All  of  Ilerodcs's  marblework  has 
srone  to  feed  neiuhborinir  lime-kilns.  The 
whole  length  of  the  level  course  of  the 
stadium,  from  the  enclosing- wall  at  the 
north  end  to  the  arc  of  the  terminating 
half-circle,  or  xphotiloHi.  ojipositc.  is  OTtt 
ft.:  the  breadth  is  II o  ft.  The  goal  stood 
at  the  centre  <if  the  half-circle  forming 
the  southern  end.  The  foundations  and 
some  slabs  of  the  marble  barrier  which 
enclosed  the  course  still  exist  at  the 
innermost  end,  and  traces  ajipcar  of  a 
metal  grating  surmounting  the  barrier — 
no  doubt  for  the  security  of  the  spectators 
during  the  animal-shows  which  were  in- 
stituted here  by  the  Kiuiiuiis.  The  tiers 
of  seats  were  over  fifty  in  number,  and 
could  receive  from  40,()()0  to  50. 000  spec- 
tatoi-s.  Traces  survive,  in  front  of  the 
north  end.  of  a  jiortico  and  of  buildings 
intended,  no  doubt,  for  gymnastic  exer- 
cises. 

The  1'aktiiexox.  or  Temple  of  Athena 
Parthenos  (Pallas  the  Virgin),  occupies  the 
highest  part  of  the  Acropolis,  toward  the 
south  side.      It  was  built  bv  Pericles,  un- 


der the  supreme  artistic  direction  of 
Phidias,  with  Ictinus  and  Callicrates  as 
architects.  The  exact  dates  of  the  con- 
struction are  not  finally  determined ;  but 
the  work  extended  from  between  454  and 
44?  B.C.  to  434.  The  Parthenon  took  the 
jdace.  with  somewhat  altered  projiortions, 
of  a  teni])le  begun  on  the  same  site  by 
C'imon.  after  the  Persian  wars.  As  to 
its  later  history,  there  is  a  record  of  re- 
pairs in  341  li.  c.  and  at  various  other 
times ;  in  304  the  Macedonian  general 
Demetrius  apjn'ojjriated  the  rear-chamber, 
or  treasury,  as  a  dwelling  for  himself; 
in  the  v  (n-  vi  cent.  A.u.  it  became  a 
Church  of  the  Heavenly  Wisdom,  later  of 
the  Theotokos  (Mother  of  God)  ;  in  ViW, 
it  was  consecrated  under  the  Latin  rite; 
in  1400  it  was  converted  into  a  mosque  ; 
in  IGSr  a  licinib  thrown  by  the  Venetians 
under  the  caj)tain  -  general  and  future 
Doge  j\Iorosini  and  the  Dane  Kcenigs- 
marck  fell  in  a  powder  magazine  estab- 
lished in  the  temple,  and  destroved  the 
middle  portion  of  it  :  and  in  the  begin- 
ning of  the  present  century  it  was  further 
daiiuiged  by  Lord  Elgin,  who  shattered 
and  threw  down  blocks  of  the  cornice 
in  order  to  carry  nlf  the  metopes,  and  did 
other  injuries.  When  the  temple  was  ap- 
propriated as  a  church,  it  suffered  mu- 
tilation in  the  transfer  of  its  chief  en- 
trance to  the  west  end,  the  construction 
of  an  apse  in  the  pronaos.  and  the  altera- 
ticiu  of  the  roof  and  the  interior  columns 
of  the  cella.  The  Turks,  in  turn,  built  a 
minaret  in  the  southern  side  of  the  west- 
ern inner  portico.  The  Parthenon  is 
Doric,  octastyle,  jK'ripteral,  with  seventeen 
columns  on  the  Hanks,  enclosing  a  cella 
which  is  anii)hij)rostyle  hexastyle.  The 
interior  of  the  cella  was  divided  into  three 
aisles  by  two  rows  of  nine  small  Doric 
ciilumns  with  a  ])ier  at  tlie  west  end  of 
each  row,  and  a  transverse  row  of  three 
columns  l)ctweeu  the  piers.  These  col- 
umns supported  galleries  over  the  side- 
aisles,  and  were  surmounted   by  a  second 


8H 


ATHENS 


range  of  oolumus.  Tlie  ceiling  of  the  eel- 
la  was  of  wood.  The  base  for  the  great 
ehrvselepliantine  statue  liv  Phidias  stood 
in  a  line  with  tlie  seventh  and  eighth  in- 
terior columns  counted  from  the  east.  The 
treasure-chamber,  or  Parthenon  proper, 
behind  tlie  cella  had  a  coffered  ceiling  of 
marble,  supported  by  four  Ionic  columns. 
The  building  was  entered  by  great  double 
doors,  probably  of  metal,  opening  on  the 
pronaos  and  epinaos.  or  rear  vestibule. 
The  entire  temple  was  of  Pentelic  marble, 
with  the  exception  of  the  roof-tiles  of 
Parian.  It  represents  the  final  develoji- 
ment  of  Doric  architecture,  temjjered 
with  graceful  Ionic  decorative  motives. 
All  the  horizontal  lines  are  slightl}'  con- 
vex upward  ;  the  columns  are  all  inclined 
slightly  inward,  and  while  decreasing  in 
diameter  from  base  to  neck,  show  in  out- 
line a  slight  swelling  (entasis),  which  is 
greatest  at  about  one-third  of  the  height. 
The  intercolumniations  next  the  angles 
are  a  little  narrower  than  the  others,  and 
the  angle-columns  are  a  very  little  heavier 
than  the  others.  The  joints  of  the  stones 
are  so  perfect  that,  where  they  renuiin  un- 
disturbed, in  no  jilace  can  the  finest  knife- 
blade  be  inserted  in  them  ;  and  frequently 
they  are  actually  invisible.  The  manner 
in  which  the  temple  was  lighted  is  a  sub- 
ject of  controversy.  It  is  hardly  probable 
that  the  cella  received  its  only  natural  light 
by  the  east  door.  The  advocates  of  the 
hyjia'thral  theory  hold  that  a  large  section 
of  the  roof  was  omitted  in  the  middle.  A 
plausilile  theory  is  that  comparatively  nar- 
row channels  were  left  open  in  the  roof 
over  the  galleries,  which  would  admit 
light  with  excellent  effect,  while  what 
water  might  penetrate  would  be  com- 
paratively easy  to  deal  with.  The  plastic 
decoration  of  the  Parthenon  consisted 
of :  1.  The  sculptures  in  the  round  of 
the  pediments.  2.  The  metopes.  3.  The 
frieze  of  the  exterior  of  the  celia.  4. 
The  chryselephantine  statue  of  Athena 
Parthenos — the  tutelarv  goddess  of  Ath- 


ens. What  remains  of  the  pediment 
statues  ranks  as  the  ideal  of  sculpture. 
The  group  in  the  east  or  chief  pediment 
represented  the  birth  of  Athena,  among 
the  assembled  gods  of  Olympus.  That  in 
the  west  jjcdiment  exhibited  the  dis])ute 
between  Athena  and  Po.seidon  for  suprem- 
acy in  the  land  of  Attica.  There  were 
seventy-eight  metopes — fourteen  on  each 
end,  and  thirtj'-two  on  each  side  of  the 
temple — carved  with  figures  in  very  high 
relief,  in  general  two  figures  on  every 
metope.  The  subjects  comprise :  the 
Gigantomachy,  or  contest  between  gods 
anil  giants  ;  the  fight  between  Centaurs 
and  Lapiths ;  the  war  between  the  Athen- 
ians and  the  Amazons,  and  the  destruction 
of  Troy.  The  frieze  surrounds  the  whole 
of  the  cella  with  a  continuous  scene  in 
very  low  relief,  representing  the  solemn 
Panathenaic  pageant,  beginning  at  the 
S.W.  angle  and  advancing  simultaneously 
along  the  west  and  north  and  the  south 
sides  to  culminate  in  the  presence  of  the 
assembled  gods  on  the  east  front.  The  re- 
lief is  wrought  with  the  greatest  delicacy, 
its  extreme  projection  being  only  about 
two  inches.  The  gold  and  ivory  statue 
by  Phidias,  represented  Athena  standing, 
wearing  the  helmet  and  regis,  holding  with 
her  left  hand  her  spear  and  shield  resting 
on  the  ground,  and  bearing  in  her  right 
hand  a  winged  Mctory  turned  partly  toward 
her  and  extending  a  garland.  Behind  the 
shield  was  coiled  the  autochthonous  ser- 
pent of  Athens,  Erichthonios.  The  prin- 
ciples of  polychromy  were  applied  in  the 
Parthenon.  The  remains  of  the  colors 
are  too  faint  and  partial  to  admit  of  a  re- 
constitution  of  the  entire  system  ;  but  it 
is  at  least  safe  to  assume  that  the  tri- 
glyphs  were  painted  blue,  and  the  field  of 
the  metopes  and  the  tympana  of  the  ped- 
iments red.  Elaborate  frets  and  other 
designs  still  appear  painted  on  various 
members  of  the  architecture,  though  the 
colors  have  faded  ;  and  there  is  no  doubt 
that  the  sculptiares  were  colored  in  more 


ATHENS 

11  ill. 


The  heiglit  of  tliL^  culuiiiiis  is  then 


lud  3^  times 


or  fewer  details.     But  it  is  still  a  matter 

of  dispute  what  portions  of  the  monument,  very  nearly   .j|   diameter 

if  any,  were  left  of  the  natural  hue  of  the  that  of  the  entablature.     The  metopes,  as 

spotless  I'entelie  marlde.  or    were    merely  high  as  the  frieze,  are  nearly  square,  ln-iiii; 

faintly  tinted  ill  monochrome.    In  its  mar-  4   ft.    v'    in.    broad    on    the   averauc  :  tbr 

vellous  subtlety,  refinement,  and  sc-ieiice  sruliitured  frieze  of  the  eella  is:)  It.  :!  in. 


^^^t!l5*^^ 


Fig.  25. — Athens,  Parthenon. 


of  propoi'lions,  its  unapproaelu'd  iierfec- 
tion  of  e.xeeution,  and  the  magnitieence, 
yet  unerring  suliordination  to  general  ef- 
fect, of  its  decoration,  the  {'ui-tlieiioii  was 
the  supreme  work  that  (irei'k  genius  cre- 
ated. Its  scnl]itures  to-day,  fragmentary 
and  iiiuriiated  as  the  violence  of  men  has 
left  tliem,  exhibit  the  consummation  of 
art.  Tliey  have  never  been  eijualled  ;  and 
it  is  not  possible  to  conceive  tliat  they 
can  be  surpassed.  Its  principal  dimen- 
sions are  these,  omitting  insignificant 
fractions  : — The  top  of  the  platform,  or 
erepidoma,  is  101  ft.  by  v'-.'S  ft.,  its  three 
steps  are  each  "^I  in.  high.  The  average 
lieight  of  the  columns  of  tlie  peristyle  is 
34  ft.  2  in.,  their  average  diameter  at  the 
base  fi  ft.  3  in.,  at  the  neck  4  ft.  Hi  in., 
the  interval  between  tiiem  ',  It.  4  in. 
on  the  fronts,  and  8  ft.  2  in.  on  the 
flanks.  The  main  entalilature  is  10  ft.  it 
in.  high,  of  wliicli  the  architrave  and 
frieze  are  each  4  ft.  .">  in.,  the  eoriiice  1  ft. 


high  and  its  whole  lengtli  't'i'.i  ft.  'I'he 
height  of  the  statue  of  Athena,  with  its 
pedestal,  is  estimated  at  40  ft.     (Sec  Firj. 

[XoTE. — An  exainiiiation  of  the  founda- 
tions of  the  I'arthenon  in  liS3.">  bv  l\oss 
showed  that  the  present  teiiiple  liad  taken 
the  ]ilace  of  an  older  one  liuilt  of  I'oros 
stone,  anil  arcliaiologists  accejited  his 
conclusions  that  the  original  temjile  of 
Athena  had  stood  in  the  place  of  the 
Parthenon,  had  been  destroyed  by  the 
Persians,  and  then  replace<l  by  the  Par- 
thenon. Hut  in  188.5-87  Dr.  Dorpfeld 
and  .Mr.  Kavvadias  excavated  and  exam- 
ined old  foundations  -and  remains  between 
the  Parthenon  ami  the  Krechtheum,  by 
which  Dr.  I)or])fcld  was  led  to  the  follow- 
ing conclusions:  that  an  archaic  Doric 
temple  of  ,\tliena  was  built  in  tjiat  posi- 
tion before  the  time  of  I'isistratus.  and 
consisted  of  a  cella  and  opisthodoiiios  in 
iiiilis;  that   Pisistratus  adih'd   a   |ierislyle 


ATHENS 


to  it,  and  adorned  it  with  sculptured 
i)edinient  and  metopes  ;  tliat  this  tenijile 
was  destroyed  by  the  Persiaus,  and  at 
once  rcl.iuilt  in  its  simple  older  form  ;  that 
then  a  new  temple  of  Poros  was  begun 
beside  it  under  C'imon,  which  was  the 
predecessor  of  tlie  present  Parthenon,  and 
the  one  of  which  indications  were  discov- 
ered by  Ross,  but  that  before  it  was  fin- 
islied  this  was  removed  as  inadequate,  to 
make  room  for  the  more  splendid  temple 
built  by  Pericles  ;  and  finally  that  mean- 
while the  Erechtheum  was  built  close 
against  the  old  temi)le,  to  receive  the 
images  and  relies  which  it  held,  when  it 
should  be  jnilled  down,  as  was  then  in- 
tended, but  that  the  old  temple  was  pre- 
served, presumably  througli  intercession 
of  the  priests,  for  the  worship  of  Atliena, 
after  the  later  temples  were  built.  Later, 
Mr.  Penrose  has  examined  the  site,  and 
has  pulilished  (in  1,S!):2)  his  conclusion  that 
the  original  temple  of  Athena  occupied 
the  site  of  the  Parthenon,  was  built  and 
finished  before  the  Persian  war  and  de- 
stroyed by  the  Persians,  as  had  been  be- 
fore believed  ;  and  that  its  remains  survive 
in  the  Doric  fragments  which  are  assigned 
by  ]^r.  Dorpfeld  to  the  archaic  temple  ad- 
joining the  Erechtlieum.  Here  the  ques- 
tion rests  at  jiresent,  but  with  a  prepon- 
derating belief  of  archaaologists  in  favor 
of  Dr.  Dorpf eld's  theory.] 

The  Propyl.ea.  or  monumental  gate- 
way of  the  Acropolis,  was  built  under  the 
administration  of  Pericles  by  Mnesicles. 
AVork  on  the  Iniilding  was  interrupted  in 
43"2  B.C.,  by  the  preliminaries  of  the 
Peloponnesian  war,  and  it  was  never  re- 
sumed ;  the  design  was  thus  only  in  jiart 
carried  out,  and  the  portions  completed 
never  received  the  finishing  touches.  The 
Propyla?a  includes  the  gate  proper,  flanked 
by  two  wings  on  the  south  and  north,  pro- 
jecting toward  the  west,  and  the  advancing 
porticoes  from  which  it  gets  its  name.  It 
occupies  the  entire  width  of  the  slope  by 
which  the  Acrojjolis  is  accessible  from  the 


west,  from  tlie  Nike  bastion  on  the  soutli  to 
tlie  steep  clitf  on  the  north.  The  west  side 
is  supported  on  considerable  substruction.s 
of  masonry,  mostly  increasing  in  lieiglit 
toward  the  north.  The  entrance  })i'oper 
consists  of  a  jiortico  of  six  Doric  columns, 
on  a  stylobate  of  four  steps,  which  is  in- 
terrupted in  the  nuddle  to  afford  a  passage 
for  the  inclined  roadway  by  which  sacrifi- 
cial victims  and  perhajjs  chariots  made 
the  ascent  in  antiquity.  The  middle  in- 
tercolumniation  has  an  interval  of  two 
triglyphs,  in  order  to  give  space  for  this 
passage.  On  either  side  of  the  portico 
there  is  a  plain  wall,  and  in  the  middle, 
bounding  the  inclined  roadway,  thive  tall 
slender  Ionic  columns  on  both  the  north 
side  and  the  south,  the  cajjitals  being  of 
noteworthy  purity  of  design.  The  back 
or  east  wall  of  the  ])ortico,  raised  on  five 
steps,  is  jjierced  with  five  doorways  corre- 
sponding to  the  intercolumniations  of  tlie 
front,  the  middle  one  being  the  highest 
and  widest,  and  those  on  either  side  de- 
creasing. These  doorways  open  into  the 
east  portico,  which  is  of  less  depth  than 
that  on  the  west,  and  has  a  front  with  six 
great  Doric  columns  very  similar  to  those 
of  the  west  portico.  The  wings  have  each 
a  Doric  portico  of  three  columns,  facing 
each  other  at  right  angles  to  the  main 
west  portico,  the  proportions  being  har- 
moniously' reduced  from  those  of  the  lat- 
ter. The  north  wing  has  behind  tlie 
portico  a  rectangular  room  with  a  door 
flanked  by  two  windows,  identified  with 
the  ancient  Pinacotheca,  or  hall  of  paint- 
ings. The  south  wing  is  much  shallower, 
and  has  no  partition  ;  it  is  probable  that 
it  was  designed  to  correspond  more  closely 
with  the  north  wing,  and  that  it  must 
have  been  curtailed  from  opposition  of 
the  priests  to  further  interference  with 
the  adjoining  consecrated  sites.  The 
Propylffia  seems  to  have  been  entirely 
devoid  of  carved  ornament,  beyond  a 
few  simple  mouldings,  and  the  indispen- 
sable  elements   of   the  orders   era])loyed. 


3a 


ATHENS 


'I'luTo  \v;is  never  any  sriilptni-c  in  the  pedi- 
ments, but  tlie  ])eri'eetion  of  exeeution 
and  tlie  relinenient  of  projiortions  tlirough 
every  detail  of  tlie  building  have  never 
been  surpassed,  and  probably  only  once  or 
twice  equalled.  The  material  is  Pentelic 
marble,  with  a  band  of  black  Eleusinian 
marble  beneath  the  windows  of  the  north 
wing,  the  same  material  being  used  in  the 
door-sills,  and  for  the  base  of  the  walls  of 
the  main  building.  The  foundations  are 
of  riraic  limestone.  The  cotfers  of  the 
ceiling  were  painted  blue,  with  stars  or 
anthemia  in  gold.  A  stone  seat  is  carried 
around  the  walls  of  the  porticoes.  The 
ceiling  of  tlu^  I'inacotheea  was  of  wood.  A 
uoteworthy  peculiarity  is  that  the  metojies 
and  triglyphs  of  the  frieze  are  carved  on 
the  same  block  of  marble,  instead  of  being 
as  is  usual  before  the  decadence,  fornuMl 
of  separate  blocks.  The  Doric  columns 
all  luive  twenty  channels,  and  the  Ionic 
columns  twenty-four  flutes.  On  the  east, 
the  original  design  provided  stoas  to  ex- 
tend from  the  central  jim-tico  north  and 
south  to  tiie  walls  of  the  Acropolis.  The 
antic  for  these  stoas  were  built  on  either 
side  of  the  main  i)ortico.  as  well  as  a  por- 
tion of  the  west  wall  of  the  northern  stoa. 
The  southern  stoa  would  liave  covered  a 
consideralile  portiim  nf  the  temenos  of 
Artemis  Braurouia.  and  necessitated  the 
removal  of  the  old  I'elasgic  wall  and  othci- 
venerated  relics.  It  is  therefore  obvious 
that  the  priests  must  have  opposed  its  con- 
struction, just  as  they  must  liave  caused 
the  existing  south  wing  to  be  mutilated  in 
its  execution.  The  principal  dimen.sions 
are  :  height  of  columns,  west  portico,  20 
ft.,  dianu'ter  at  base,  .5  ft.  3  in.,  at  neck 

3  ft.  11  in.  ;  width  of  portico.  .")!)  ft.  (i  in.; 
width  of  central  passage,  or  ratup.  Vi  ft. 

4  in.,  main  doorway  over  it.  i:!  II.  It  in.  by 
24  ft.  2  in.  The  edlunins  of  the  Ionic 
order  are  ISo  ft.  '.i  in.  higli,  their  diameter 
at  base  o  ft.  2  in.,  tiu'ii'  architrave  2  ft. 
10  in. 

Some  fuundatidiis  nf   tlie  older   I'ropy- 


hea  and  an  auta  remain  behind  the  south 
wing  of  the  jjresent.  The  old  entrance 
appears  to  have  had  the  form,  usual  in 
Greek  fortifications,  of  an  outer  and  an 
inner  gate,  with  a  court  between  tliem. 
It  entered  from  the  southwest. 

SiiU'-iiorsES  in  the  Pirajus  excavated 
in  188.3-1880,  on  the  shore  of  the  S.  E. 
harbor  (Zea  or  Munychia)  near  the  east 
side  of  its  entrance.  The  I'ciuains  of 
eleven  of  these  houses  have  been  in  |iai-t 
explored.  They  were  arranged  side  liy 
side  in  pairs,  every  pair  under  one  root  or 
shed,  supported  at  the  sides  and  in  the 
middle,  between  the  two  adjoining  houses, 
by  i)arallel  ranges  of  columns,  and  enclosed 
on  tiic  land  side  by  a  massive  wall.  The 
width  of  the  houses  varied  slightly,  but 
was  about  21  ft.,  and  the  back  wall  is  at 
an  average  distance  of  about  100  ft.  from 
tlie  water.  The  central  ]iortion  of  eac-h 
was  f)ccn]iied  by  an  inclined  plane,  about 
10  ft.  wide,  on  which  was  drawn  up  the 
galley  which  was  housed  there,  and  at 
the  laud  end  about  17  ft.  above  the  water- 
k'vel.  Some  of  these  inclined  planes  were 
hewn  in  givat  part  from  the  rock  ;  others 
were  built  up  of  masonry.  The  remains 
extend  out  in  the  water  of  the  harbor  to  a 
distance  which  is  not  yet  determined. 

The  St.vtue  of  Athena  I'lfoMAciios 
(Pallas,  as  Protectress,  Fighting  in  Front), 
in  bronze,  by  Pliidias,  from  the  spoils  of 
the  [Vrsians,  placed  between  the  Frech- 
theuni  and  the  Propylsea,  was  of  such 
size  that  the  gleaming  point  of  the  lance 
which  the  goddess  held  resting  on  the 
ground  beside  her  formed  a  landniaik  lie- 
side  the  Parthenon  for  seamen  a]i]iroacli- 
ing  from  the  direction  of  Sunium. 

Stoa  of  Attalus,  on  the  cast  side  of 
the  agora,  built  by  Attains  II.  of  Pergamon 
( l.")'.)-i;S8  H.r.).  It  was  erroneously  iden- 
tified by  Ijcakc.  and  others,  witli  tlie 
(iymnasium  of  I'tolemy.  Its  iilciitily  was 
established  liy  thediscovcry  of  a  jiart  of  the 
dedicatory  inscription  on  the  Poric  vpi- 
style.    The  portico  consisted  of  two  stories. 


ATHENS 


open  ;iii(l  su]i]iort(Ml  niifoliimns  on  the  side 
toward  the  agora.  The  lower  front  range 
was  of  thirty-five  Dorie  columns  resting  on 
a  stylobate  of  three  stejis.  There  were  two 
inner  ranges,  also  of  thirty-five  eohunns, 
the  outer  one  of  these  being  Corinthian, 
the  inner  Ionic.  The  colonnades  of  the 
upper  story  were  of  similar  plan,  but 
forined  of  rectangular  pillars  fliuiked  by 
seiui-colunms.  Ik'liind  the  columns  were 
twenty-one  chambers,  serving  probably  as 
shops  or  as  places  for  storage.  The  entire 
depth  of  the  stoa  was  (io  ft.  9  in.  ;  its 
length  was  ;S87  ft.  The  north  end-wall 
has  marble  seats,  arranged  as  a  kind  of 
exedra.  In  front  of  the  stoa  the  Eoman 
generals  erected  a  bema  or  tribune  for  the 
promulgation  of  public  notices. 

Stoa  of  Eumexes,  of  two  aisles,  ex- 
tending between  the  Theatre  of  Dionysos, 
and  the  Odeum  of  Regilla.  Along  the 
whole  of  the  terrace  at  the  foot  of  the 
Acropolis  is  carried  a  retaining- wall, 
strengthened  by  projecting  buttresses  con- 
nected by  arches.  Immediately'  in  front 
of  this  wall,  and  masking  it,  was  the  rear 
wall  of  the  stoa,  Avliich  was  53.5  ft.  long 
and  about  53  ft.  deep.  The  limestone 
foundations  of  the  front  of  the  stereobate 
remain  in  great  part,  as  well  as  the  quad- 
rangular stone  bases  of  an  inner  row  of 
columns,  and  portions  of  the  side  and  rear 
walls,  which  had  a  podium  of  liymettian 
marble.  The  roof  was  of  wood.  The 
wall  of  the  stoa  corresponds  exactly  with 
the  line  of  the  chord  of  the  cavea  of  the 
Odeum  of  Kegilla.  It  had  direct  com- 
munication with  the  Odeum  by  means  of 
a  door,  and  may  have  been  connected  with 
the  upper  part  of  the  cavea  of  the  Uiony- 
siac  Theatre  by  means  of  a  flight  of  stairs. 
The  ret.uning-wall,  from  its  construction, 
was  uiulouljtedly  liuilt  at  the  .same  time 
with  the  stoa,  but  must  have  replaced  an 
older  wall. 

Stoa  of  thf,  Giaxts  (so-called),  with- 
in the  old  area  of  the  Agorsi,  between  the 
Stoa  of   Attains   and    the    so-called  The- 


seum.  The  remains  are  of  late  Roman 
date,  or  even  later.  Four  great  founda- 
tion-piers of  very  rude  construction  suj)- 
port  rectangular  bases  of  marble,  of 
rough  workmanship.  The  fronts  of  these 
bases  are  carved  each  with  a  serpent  en- 
twined about  an  olive-tree.  On  the  bases 
stand  pillars  of  some  height,  and  on  the 
jiillars  colossal  male  figures,  the  lower 
2)art  of  the  body  of  fantastically  contorted 
serpent-form.  The  heads  are  gone,  and 
the  arms  seem  to  have  been  raised  to  sup- 
port an  epistyle  in  the  guise  of  Atlantes. 
The  figures  are  of  much  superior  work- 
manship, and  doubtless  of  earlier  date 
than  the  rest.  The  three  entrances  be- 
tween the  four  i)iers  apparently  led  into 
a  rectangular  hall  with  rooms  opening 
into  it  on  either  side.  There  are  traces 
of  a  fountain,  and  jierhaps  of  a  bath. 

Stoa  of  IIaduian,  the  modern  name 
for  the  ruin  of  which  the  most  prominent 
fragment  is  a  high  wall  in  front  of  which 
stand  seven  monolithic  Corinthian  col- 
umns of  Karystos  marble,  28  ft.  high,  op- 
}M)site  the  modern  bazar.  It  formed  a 
part  of  the  Gymnasium  of  Hadrian,  which 
is  now  lost  among  the  buildings  of  the 
modern  city. 

Temple  of  Atiiena.     See  Prnihcnoii. 

The  Temple  on  the  Ilissus,  perhaps 
to  be  identified  as  the  Temple  of  Eukleia, 
was  destroyed  by  the  Turks  in  1780,  in 
Iniilding  fortifications,  fortunately  not 
until  Stuart  had  measured  and  drawn  it. 
It  was  Ionic,  amphiprostyle,  on  a  crepi- 
doma  of  three  steps,  with  four  columns  in 
front  and  rear.  On  the  east  side,  the  cella 
walls  were  carried  forward,  forming  a  pro- 
naos  with  antaj  corresponding  to  the  angle- 
columns.  At  the  west  end  there  were 
merely  anta?,  with  no  opisthodomos.  The 
temple  was  dedicated  l)y  tlie  Christians  as 
a  church. 

The  Temple  of  Nike  Aptekos  (the 
Wingless  Victory,  or  Athena  as  Goddess 
of  Victory),  occupies  the  top  of  the  bastion 
or   pyrgos  in  front  of   tlie  south  wing  of 


ATHENS 


till'  l'ropvl;¥a.  'I'lic  little  temple,  of  Pen-  less  mark  the  position  of  llie  ;iltai-.  '{"lie 
telie  marble,  is  Ionic,  aniphi]irostyle,  tetra-  architectural  relations  of  the  bastion  with 
style,  ii]ion  a  crepiiloma  of  three  steps,  the  the  PropyUea,  show  that  the  plans  for  this 
lowest  projecting:  less  than  '3  in.  'i'lic 
stylobate  is  -27  ft.  long  and  17  ft.  lo  in. 


wide.     'Die  total   hcijjht  of  the  columns 
is  slisrhtlv  over  13  ft.;   thev  are  stout  and 


ta])erinir.    their    bases   are   hiijh. 
somewhat  archaic  dcsii,ni.  ami  the 


and    of 

capitals 


temple  must  have  been  made  before  ilW 
li.c,  when  work  on  the  Propyhva  was 
closed.  During  the  siege  (jf  the  Aci-opolis 
in  1087,  the  temple  was  entirely  pulled 
down  by  the  Turks,  and  the  materials 
were  used  for  the  constiMictioii  of  a  bat- 
tery. Ju  Ls;),")  the  (ier- 
iiian  architects,  Schau- 
bert  and  Hansen,  recov- 
ered almost  all  the 
stones,  and  set  uji  the 
temple  again  on  its 
ancient  site,  as  it  now 
stands.  The  so-called 
l)alustrade  consisted  of 
slabs  of  marble  placed 
upright  along  the  three 
free  sides  of  the  temjjle 
bastion,  and  bearing  on 
tiu'  outer  side  sculpture 
in  high  relief  reiiresent- 
ing  sul)jects  connected 
with  the  cult  of  the  god- 
also  arc  large  in  jiroportion.  The  shafts  de.ss  N'ictory.  One  of  these  balustrade 
have  twenty-four  flutes,  and  the  inter-  subjects  is  the  famous  Victory  loosing  her 
colunmiation  is  .">  ft.  'i  in.  The  archi-  Sandal.  The  lack  of  simplicity  in  design, 
trave  is  divided  into  three  bands  project-  and  the  research  of  tran.sparency  in  the 
ing  one  over  the  other.  The  frieze  bears  ilraperies.  show  that  this  balustrade  is  of 
figures  in  high  relief,  and  though  much  later  date  than  the  v  cent.  li.c.  It  proli- 
damaged  nearly  all  survives.  Several  of  ably  rei)laccd  an  earlier  balustrade  wliich 
the  sculjiturcd  slabs  are  in  the  British  was  presumably  without  sculpture.  A 
.Museum,  and  arc  now  represented  on  the  metal  grating  was  li.xed  on  the  top  of  it, 
temple  by  casts.  Tlu'  subjects  include  an  and  was  carried  acro.ss  from  both  sides  on 
assi'inbly  of  the  (lods  (east  front),  and  the  east,  so  as  to  eiudose  the  temple.  (Sec 
battles  of  foot-soldiers  and  cavalry,  some     Fi;/.  -'''.) 

of    the   combatants  wearing    the    Persian  Tkmim.i;  oi'  Zius  Ui.'i  .Mriu.-i  (Olympian 

dress.  The  pediments  were  not  lillcd  with  .love),  or  the  (JLYMPiEi'ir,  S.  E.  (jf  the 
sculpture.  The  cella  measures  within  Vi  Acropolis,  near  the  bank  of  the  llissus  and 
ft.  .")  in.  long  and  V-l  ft.  'J  in.  wide.      It  is     the  Fountain  of  Callirrhoe.      The  site  was 


Fig.  26  —Athens,  Temple  nf  Nike  Apteros 


not  closed  by  a  wiill  on  the  front,  but  has 
two  |]icrs  with  a  space  4  ft.  7  in.  between 
thcni  for  the  door,  anciently  flanked  liy 
metallic  gratings.  It  contained  the  statue 
of  .\theiui  Nike.  Hloeks  of  Poros  st<ine 
in  the  pavement  before  the  temple  doubt- 


vcry  iincientlv  held  sacred,  as  that  wlici'c 
Peucidion  olTercd  thanks  to  Zeus  aflcl'  the 
IliKiil.  The  earliest  temi)le  hci-c  of  which 
we  have  historic  knowledge,  foundi'd  by 
Pisistratus,  about  '>'.]0,  was  left  unflnishcil 
liy    the    expulsion    of    the    Pisistratids   in 


4i! 


ATDENS 


51i>.  ami  taken  up  again  by  Antioclius 
I\'.,  Epiphanes,  on  a  magnificent  scale, 
about  17-1  B.f.,  with  tlie  Roman  Cossu- 
tius  as  arcliitect.  He  built  the  Corin- 
thian dipteros,  and  gave  the  temple  its 
definitive  form.  In  80  is.c.  Sulla  car- 
ried off  to  Iicmie,  for  the  C'apitoline  tem- 
j)le  of  Jove,  some  columns  jiossibly  from 
the  foundation  of  Pisistratus,  or  perhaps 
copied-  after  those  belonging  to  it.  Final- 
ly Hadrian  undertook  the  completion  of 
the  building  in  a  style  of  lavish  splen- 
diii'.  He  gave  the  great  chryselephantine 
statue  of  Zeus,  which  was  excelled  in  size 
only  by  the  colossi  of  Rhodes  and  Rome. 
The  temple,  dedicated  in  1-^9  or  130  A. I)., 
had  two  ranges  of  columns  on  the  fianks 
and  three  on  the  ends,  besides  columns  be- 
tween the  antffi  of  pronaos  and  opisthodo- 
mos.  It  had  eight  columns  in  front  and 
rear,  declared  Dorpfeld  in  188G ;  con- 
trary to  the  formerly  received  opinion 
that  it  had  ten  columns  on  the  ends, 
^fany  authorities  give  the  number  of  col- 
umns on  the  flanks  as  twenty -one,  but  the 
number  twenty  was  determined  by  Revett 
in  1T65.  The  Corinthian  columns  are  of 
Pentelic  marble,  with  twenty -four  flutes  ; 
height,  o()  ft.  7  in.,  including  capital  (G  ft. 
72  in.),  and  base  (3  ft.  9|  in.)  ;  diameter, 
above  base,  a  ft.  7  in.,  beneath  capital.  4ft. 
IO5  in.  ;  the  entasis  more  marked  than  was 
usual  at  the  best  time,  the  intercolumna- 
tion,  9  ft.  7  in.  The  length  of  the  temple 
is  given  as  353  ft.,  its  breadth  as  13-1:  ft. 
Tlie  temenos,  G7fi  ft.  by  42G  ft.,  was 
adorned  with  a  great  number  of  statues  of 
Hadrian  dedicated  by  many  Grecian  states, 
together  with  other  statues  and  monu- 
ments. A  statue  of  Hadrian  was  also 
placed  in  the  cella  beside  that  of  Zeus. 
Sixteen  columns  of  the  temple  survive, 
with  a  great  part  of  their  architrave.  The 
capitals  are  cut  from  two  blocks.  Three 
lilocks  side  by  side  form  the  architrave. 
The  temenos  is  supported  on  the  side  next 
the  Ilissus  by  a  massive  retainiug-wall 
strengthened  by  buttresses  and  15  ft.  hisrh 


at  the  east  end.  Tpon  the  establishment 
of  the  Christian  religion,  this  great  temple 
became  a  church  of  St.  John.  The  time 
and  manner  of  its  destruction  are  not 
known.  For  four  hundred  and  fifty  years 
it  is  known  to  have  been  substantially  in 
its  present  condition. 

TiiEATKE  OF  DioXYsos  (Racchus).  on 
the  southern  slope  of  the  Acrojjolis,  to- 
ward the  east  end.  It  was  founded  in  the 
shape  in  which  it  now  appears  early  in 
the  V  cent.  is.c.  ;  and  was  comjileted  by 
the  orator  Lycurgus  about  B.C.  329.  The 
stage  and  orchestra  were"  remodelled  by 
the  Romans.  The  remains  of  the  theatre 
were  excavated  Ijetween  18G0  and  18G5. 
and  again  in  1877.  The  plan  of  the  cavea 
is  horse-shoe  shajied,  and  covers  two-thirds 
of  a  circle.  At  one  jilace,  a  segment  of 
the  Acropolis  cliff  is  cut  away.  The  out- 
line on  the  east  side,  though  now  in  great 
part  destroyed,  was  manifestly  very  ir- 
regular. Tlie  cavea  was  divided  into  thir- 
teen cunei  by  fourteen  flights  of  steps 
radiating  from  the  orchestra.  At  about 
two-thirds  the  distance  to  the  top  was  a 
horizontal  passage  formed  by  permitting 
the  old  path  skirting  the  Acropolis  to 
pass  through  the  theatre,  N'carly  all  the 
seats,  except  the  lowest  tiers,  have  been 
carried  away.  They  were  of  Piraic  stone, 
about  1  ft.  2  in.  high,  and  2  ft.  8  in. 
broad,  hollowed  out  on  the  front  face,  and 
with  a  depression  at  the  back  for  the  feet 
of  the  sj^ectators  next  above.  The  lowest 
row  next  to  the  orchestra  was  occupied  by 
thrones  of  Pentelic  marble,  sixty-seven  in 
all,  fifty  being  still  in  place.  The  middle 
one,  that  of  the  chief  priest  of  Dionysos, 
is  richly  carved  :  it  dates  from  the  early 
Roman  Emjiire.  The  others  are  older, 
and  are  set  apart,  by  inscriptions,  for 
priests  and  other  dignitaries.  Other 
thrones  are  scattered  among  the  ordinary 
seats,  as  well  as  the  bases  of  many  statues 
of  poets,  among  them  one  of  ilenander.  a 
number  of  Hadrian,  and  a  large  base  be- 
hind the  throne  of  the  Dionysiao  priest. 


43 


ATIIF.X8 


wliieli  may  liave  Ixhmi  a  ^ilaoo  of  state  for 
till'  c'liipLTor  himself.  Tliu  capacity  of  tlio 
theatre  was  from  27,000  to  30,000  specta- 
tors. The  arrangement  and  remain.s  of 
the  cavea  belons;  essentially  to  the  v  cent. 
li.c.  The  orchestra  remain.s  in  the  form 
given  it  by  the  llomans.  Its  length  along 
the  existing  stage  wall  is  78  ft.  (i  in.  ;  its 
width,  measured  from  the  steps  of  the 
.stage  along  the  axis  of  the  theatre,  is  58 
ft.  (i  in.  It  is  paved  with  slabs  alter- 
nately of  Pentelic  and  Ilymettian  marblf, 
the  middle  being  occupied  by  a  large 
diamond-shaped  figure  of  wliite,  blue,  and 
reddish  slabs.  In  the  central  slab  is  a 
circular  depression,  probably  intended  to 
receive  the  thymele.  or  altar  of  Dionysos. 
Along  the  outer  edge  of  the  broad  lowest 
steji  of  the  cavea  is  carried  a  barrier  of  up- 
right marble  slal)S,  clamped  firmly  togeth- 
er, 3  ft.  7  in.  high.  Its  upjJer  edge  bear.s 
marks  of  the  preseiu'C  of  a  metallic  grating, 
doubtless  })laced  there  to  ]irotect  the  spec- 


about  3  ft.  high,  in  high  relief,  represent- 
ing sceiu^s  from  the  early  life  and  the 
Attic  cult  of  Dionysos.  The  sculptures 
are  good  woi'k  of  the  early  Knipii'e.  and 
thus  antedate  the  wall.  Iiia<lcep  uiclie 
in  the  middle  is  a  crouching  Silenus.  of 
still  earlier  workmanship,  the  cornice  of 
the  wall  resting  on  his  back.  Among  the 
ruins  behind  the  stage-wall  of  Pha^drns, 
some  vestiges  of  a  portico  connected  with 
an  earlier  lioman  stage-wall  ascribed  to 
the  time  of  Nero  can  be  traced,  consist- 
ing of  a  row  of  small  columns  supporting 
arches;  and  extensive  foundations  of  two 
periods  reuuun,  with  evidence  that  the 
earlier  does  not  antedate  Lycurgus,  340 
I5.C.  The  earliest  stage  was  a  rectangu- 
lar hall  about  01)  ft.  long,  enclosed  on 
either  side  by  projecting  buildings,  with  a 
long  stoa  at  the  back.  The  second  ad- 
vanced into  the  orchestra,  and  had  a  ju'o- 
scenium-wall  ornamented  with  pillars 
10  ft.  to  1-.'  ft.  high.      {See  Fi(j.  ,';.) 


■-  r-'  ;    *      .     -  f-     4^-"-^' — i^M  •         '-■1.-     -•-  'xt^anS^ 

_! Cc.j^"J^!lfri    Jii1Jt;i»*nMiiri*_-  •  jl-ilil        ^Vlr.   I— rntf  ._^   '^"-'J\!-tSI!3L. 

Fig.  27.— Athens,  Theatre  of  Dionysos,   Stage-wall. 


tators,  when  the  theatre  came  to  be  used,  Tiieatrk  of  II  kudues.     See  Odcvm. 

under   W an    influence,  for   gladiatorial         The  Tiie.seim   or  Tein])le  of   'i'hcscns 

shows.    'I' he  I  I'dinans  advanced  the  stage  in-  so-called,  now  idciitilic(l  with  prarlical  cer- 

to  the  orchestra,  cutting  olf  entirely  the  side  tainty  as  the  ancient  temple  of  Ilcpliaistos 

]>as.sages   (mipoSoi)   for  both  orchestra  and  (Vulcan),   is  the  best   preserved   building 

audience  which  existed  in  the  earliei'  plan,  nf    aiu'ienl    (Iveece.      It    must    have   been 

The  stage,  of  which  the  western  ludf  sur-  liegun  very  close  to  4(10  n.c.     The  tem])le 

vives,  was  iuiilt  l)y  I'luedrus.  an  Athenian  is  Doric,  hexastylc.   pcri))teral.  with    two 

nuigistrate,  ])robably  in  the   ill   ce'ut.  a.d.  columns  between  .-inta'  in  the  pronaos  and 

A  llight  of  live  stops   in    the   middle  gives  iipistliddinuos.    and    thirtei-n    columns    in 

communication  with  the  ondu'sti-a.     The  cadi  Hank,  resting  i>n  a  styhibate  of  three 

IVont  is  (U'nainented  with  gr(rLi]is  of  ligures  steps,  twn  nf  niarlile.  suppoiicd   on  a  suh- 


ATKI 


sti'urtioii   of    Poros  stone.     Tlie  inuterial 
tlirougliout  above  the  substruction  is  Peii- 
telii;  marble,  whicli  from  age  has  assumed 
a  golden  -  brown   tint. 
The  length  on  the  up- 
per step    is  104  ft.    G 
in.:  the  breadth.  4.j  ft. 
a  in. ;  tlie  height  of  the 
columns,    including 
the  capital  (15  iu.),  19  ■','■-■'■ 

ft.  o|  ill.;  the  diameter 
of  the  columns  at  the 
base.  3  ft.  3|  in.,  at 
the  neck.  2  ft.  7^  in. 
The  entasis  is  very 
slight;  the  columns 
have  twenty  channels, 
which  (liiuinish  in 
dejith  toward  the  top. 
The  space  between  the 
columns  approximates  5  ft.  "2|  in.,  exce]it 
at  the  angles,  where  it  is  about  4  ft.  2  in. 
The  columns  of  the  peristyle  have  a  slight 
inclination  inward.  I'he  cella  is  39  ft.  8 
in.  by  "20  ft.  .")  in.  The  pronaos  is  recessed 
I'i  ft.  9|  in.  within  the  peristyle,  the 
opisthodomos  10  ft.  G  in.  The  depth  of 
the  proiuios,  which  is  greater  than  that 
of  the  opisthodomos.  is  IG  ft.  o  in.  The 
columns  of  the  pronaos  were  removed  at 
an  early  date,  when  the  temple  was  dedi- 
cated as  a  church  of  St.  George  ;  its 
architrave  is  now  supported  by  a  wall. 
The  marble  coffered  ceiling  of  the  por- 
tico is  the  most  complete  surviving.  The 
pediments  were  filled  with  sculpture,  whidi 
is  now  entirely  gone,  though  marks  of 
its  placing  remain.  The  metojjes  were 
sculptured  only  on  the  east  front,  together 
with  the  four  on  eacli  flank  next  to  tliat 
front.  The  subjects  are  the  feats  of  Her- 
cules and  of  Theseus.  The  cella  frieze 
was  sculptured  over  both  pronaos  and 
opisthodomos  and  at  the  eastern  extrem- 
ities of  the  flanks.  Though  much  dam- 
aged, these  sculptures  show  excellent 
design  and  workmanship.  The  subjects 
are :  at   the  east  end,    a    battle,    perhaps 


of  the  Athenians  against  the  Kleusinians 
and  Thracians,  in  presence  of  several  of 
the  greater  gods,   represented    above    the 


Fig.  28  —Athens,  Thespiim. 

antaj ;  at  the  west  end,  the  combat  of  the 
Athenians  and  the  Lajnths  against  the 
Centaurs.  The  existing  arched  roof  of 
the  cella  is  modern,  as  well  as  the  small 
entrance  door  on  the  south  side.  {See  Fiq. 
28.) 

Tower  of  the  Uinds.     .See  Horolwj- 
ium.  of  AndroHicus. 
ATEI,  Italy. 

The  Cathedral,  one  of  the  character- 
istic Gothic  buildings  of  the  Abruzzi,  is 
a  three-aisled  cIuhtIi  with  a  single  eastern 
apse,  built  at  the  end  of  the  xiri  century. 
The  rectangular  front,  disguising  the  out- 
line of  the  nave  and  aisles,  and  divided 
by  flat  pilasters,  is  jjierced  by  a  single 
middle  door,  inscribed  with  the  date  130."). 
round-arched,  but  riclily  decorated  with 
Gothic  sculpture,  angle-shafts,  dog-tooth 
and  cable-mouldings.  The  high  gal)le 
over  it,  reaching  to  the  cornice,  contains 
a  wheel-wiiKhnv  of  similar  style.  A  hori- 
zontal trefoiled  eaves-cornice  finishes  the 
facade.  On  the  south  side  is  another 
door  somewhat  similar  in  design,  but 
of  finer  proportion.  The  interior,  with 
pointed  arcades  and  vaulted  apse.  ha<l  a 
flat   wooden  ceiling,  but   was  vaulted   in 


45 


ATTIT'STA 


18;]0.  It  was  decorated  with  very  iiiter- 
estiiio;  frescoes,  «iiich  have  liceu  obliter- 
ated by  whitewiish  except  in  the  walls  and 
vault  of  the  apse,  wliere  tliey  have  l)eeH 
elaborately  restored.  Tiie  handsome  bell- 
tower  is  tall  and  square,  with  a  two-storied 
octagonal  lantern  which  is  pierced  liy  a 
ranjre  of  broad  i)ointed  twin  windows  and 
round  windows  above,  and  crowned  by  a 
low  spire  with  a  group  of  jiinnacles.  The 
arcaded  cornice  of  the  front  i 
each  story  of  the  tower,  and 
the  jiinnaeles. 

AI'orSTA  I'lLETORIA.     Hee  Aosfa. 
A\'ERSA.  Italy. 

The  C'ATIIEDKAI..  dedicated  to  S.  Paolo, 
is   a   great   cruciform  church    of   the    xi 
cent.,  about  90  ft.  wide  and  300  ft.  long, 
the  length  of  transept  about  150  ft.     The 
nave.    45  ft.   wide   and    TO    ft.  high    and 
vaulted,  is  separated   from  the   aisles   l)y 
arcades  of  five  bays.     Over  the   crossing 
is  an  octagonal  dome,  of  which  the  drum 
is  decorated  by  two  ranges  of  arcades  on 
columns,  and  a  corljcllcil 
cornice.     The  highapsi- 
dal  choir  is  encircled  by 
a    semicircular    aisle    in 
nine   groined   bays   with 
three  ajises  opening  from 
it.   The  vault-ribs  sjiring 
from   columns.      'I'lu' 
tower    attached    to    the 
ilank  of  the  church  be- 
longs   to    the    XV    cent.. 
and  consists  of  four  stor- 
ies with  a  small  cupola. 
AXI.\.      See     Cdstrl 

d'Asai). 
r.AALHKK   (anc.    Ilcli- 

opolis).  Syria. 

('ll{CfI.Alt    'I'kMPLE. 

east  of  the  Acropolis,  in 
the  modern  village.  The 
cella  is  surrounded  by  eight  wide-spaced, 
graceful,  unfluted  monolithic  ('(n-intliian 
columns,  whose  rich  entablature  is  re- 
cessed in  semicircular  arcs.      In   frcnit  is  a 


tetrastyle  portico,  with  a  flight  of  steps  be- 
fore the  door.  Beneath  the  entablature 
the  cella  is  surrounded  by  a  frieze  of  gar- 
lands. Between  the  columns  are  well- 
j)roportioned  arched  niches  with  shell- 
sha[icd  heads.  In  the  intci'ior  are  live 
niches,  one  with  a  triangular  pediment, 
on  Ionic  ])ilasters.  This  tenijile  was  for- 
merly tised  as  a  (ireek  church. 

Gkeat  Temple,  of  Jupiter  or  of  ;;11  the 
repeated  at  gods  of  Heliopolis.  It  rose  behind  and  iii 
even  round  the  axis  of  the  propyhea  and  two  fore- 
courts. Six  enormous  Corinthian  col- 
umns of  the  south  peristyle  alone  remain 
standing,  with  their  entablature.  The 
columns  are  unfluted,  about  60  ft.  high 
and  7i  ft.  in  diameter,  the  shafts  formed 
of  only  three  drums,  the  cajiitals  and  the 
details  of  frieze  and  entaldaturc  of  heavy 
and  unrefined  design.  The  basement,  in 
massive  masonry,  rises  about  50  ft.  above 
the  surrounding  plain.  The  temple  had 
nineteen  columns  in  each  flank  and  ten 
in  each  front  ;   nine  were  still  standing  in 


1.  Great  Temple.  2.  Basilica.  3.  Temple  of  the  Sun. 

Fig.  29— Baalbek,  Roman   Ruins. 


-.'110 


l^"il.     Tlir  plan   measured  IHO  ft.  hy 
ft.      {See  Fkj.  ;.'.'/.) 

J'lJOl'YL.KA    OF     Tin:     ClIKAT     'I'kMI'I.K. 
The  platronu  (jT  the   exterior  pculiro  is  a 


15AALHEK 


rectniiglo  about  2G0  ft.  wide  and  30  ft. 
dec'ii.  the  tli)i)i-  of  which  is  I'.l  ft.  liigher  tlian 
the  ground  in  front.  It  was  no  douljt  aj)- 
proached  by  a  flight  of  steps,  now  gone. 
It  consisted  of  twelve  columns  in  two  rows, 
the  bases  of  which  are  still  in  place.  On 
two  of  the  bases  are  inscriptions  commem- 
orating the  dedication  of  the  temple  by 
Antoninus  Pius  and  Julia  Domna.  The 
portico  is  flanked  by  tower-like  buildings 
with  square  chambers  adorned  with  jiihis- 
ters.  In  the  wall  behind  the  colonnade  are 
three  portals,  the  largest  33  ft.  wide  and 
the  small  ones  10  ft.,  which  open  into  a 
hexagtmal  court  about  '-i-i'J  ft.  by  11)5  ft.  ; 
it  was  ornamented  with  niches  and  square 
exedra;,  now  for  tlie  most  part  destroyed. 
A  triple  portal  afforded  communication 
between  the  hexagonal  court  and  the 
chief  court  before  the  temple,  which  was 
440  ft.  from  east  to  west,  and  370  ft.  from 
nortli  to  south.  This  court  has  recessed 
covered  exedra»  on  the  north,  east,  and 
south  sides.  Exedra?  and  walls  are  or- 
namented with  unfluted  Corinthian  pi- 
lasters with  their  entablature,  between 
which  are  two  tiers  of  niches,  the  ujiper 
with  triangular  jiediments,  and  the  lower 
arched.  In  the  middle  of  the  court  is  a 
large  rectangular  raised  platform  of  ma- 
sonry, perhaps  the  stereobate  of  a  basilica. 
The  masonry  of  the  court  is  in  large 
lilocks,  and  the  decoration,  though  of 
florid  and  debased  stj'le,  is  rich  in  effect. 

Temple  of  the  Sux,  the  smaller  of 
the  two  chief  temples,  south  of  the  Great 
Temple,  on  a  platform  of  its  own,  which 
is  lower  than  that  of  the  Great  Tem})le. 
As  usual  with  Roman  temples,  it  stands 
on  a  basement  with  a  flight  of  stejis  be- 
tween piers  in  front.  It  is  Corinthian, 
with  unfluted  columns,  octastyle,  with  fif- 
teen columns  on  each  flank,  its  peristyle 
117  ft.  by  nr  ft.  Several  columns  of  the 
peristyle  are  standing,  10  ft.  from  the 
walls  of  the  cella  on  the  sides,  and  4l)i  ft. 
high.  The  ceiling  was  coffered  with  hex- 
agons,  rhomboids,    and    triangles,    elaljo- 


ratcly  sculptured  with  busts  of  gods  and 
with  foliage  ornament.  The  j)ronaos,  25 
ft.  deep,  had  six  fluted  Corinthian  columns 
in  front  and  one  on  eacli  side  before  the 
pilastered  anta?.  The  ])ortal  is  well 
known,  with  the  huge  central  block  of  its 
lavishly  sculptured  lintel  slipped  down 
for  half  its  height,  and  now  supported  by 
a  modern  pier  of  masonry.  On  each  side 
of  the  door,  spiral  stairs  ascend  in  the 
thickness  of  the  wall.  The  cella,  origin- 
ally vaulted,  is  about  87  ft.  by  74  ft.  ;  its 
walls  remain  especially  perfect  on  the 
north  side,  which  has  eight  engaged,  flut- 
ed Corinthian  semi -columns  supporting 
square  projecting  blocks  of  entablature. 
The  architrase  is  Corinthian,  the  frieze 
has  Doric  triglyphs,  and  the  cornice  is  of 
the  most  florid  and  elaborate  character. 
Between  the  columns  are  two  tiers  of 
niches,  those  of  the  upper  tier  with  low 
triangular  pediments,  those  of  the  lower 
arched.  There  is  a  raised  platform  or 
sanctuary  at  the  west  end,  with  steps  and 
two  massive  pillars,  and  a  vaulted  crypt 
beneath  the  cella.  The  portico  is  grace- 
ful and  well  proportioned,  though  the 
ornament  of  the  building  is  much  too 
lavish.  The  material  is  a  whitish  or  yel- 
lowish granite  except  the  decorative  parts, 
which  are  in  white  marble.  As  in  the 
normal  Roman  temple-plan,  there  is  no 
opisthodomos. 

The  Walls  of  the  city  are  about  four 
miles  in  circuit,  but  are  evidently  for  the 
most  part  a  hasty  restoration  roughly 
built  up  of  architectural  fragments  and 
other  incongruous  materials.  They  now 
stand  from  10  ft.  to  12  ft.  high,  and  have 
square  towers  at  intervals.  The  gate  on 
the  north  side  is  the  only  one  that  is  fine 
or  seems  to  preserve  its  original  form. 
The  enclosing  wall  of  the  Acropolis  on 
the  north,  in  front  of  the  platform  of  the 
(ireat  Temple,  is  10  ft.  thick  and  contains 
in  its  height  of  I'.i  ft.  nine  courses  of 
blocks,  each  block  about  30  ft.  long.  In 
the  western  stretch  of  this  same  wall,  at  a 


47 


I'.AALSAMIX 


heiglit  <ir  I'.i  ft.,  ari'  the  llnx'c  fainoiis 
great  blocks,  \o  ft.  liigli,  and  resjiectivcly 
U4  ft.,  0:51  ft.,  and  H2  ft.  long.  Jt  may 
be  from  tliese  three  blocks  that  the  tem- 
ple liad  its  ei)ithet  trUiflion  (thrcc-.stoned). 
The  substructions  of  tlie  wall  arc  squared 
but  not  smooth-faced  :  the  higher  j)arts 
are  in  drafted  masourv. 
BAALSAMIN,  Hauran.  Syria. 

Temple,  built  in  'i'i  li.f.  It  faces  the 
east,  is  01  ft.  dcej)  and  0-1  ft.  wide,  with  a 
recessed  entrance  portico  31  ft.  wide,  be- 
tween antffi.  The  outer  division  of  the 
interior,  into  which  the  jiortico  opens,  is 
17  ft.  deep.  The  temple  stands  in  a 
rectangular  enclosure  107  ft.  deep  and 
al)out  half  us  wide,  entered  unsymmetri- 
cally  on  the  east  side  by  a  great  door  be- 
tween towers  or  pylons.  The  door  opens 
on  a  paved  square  court  before  the  temple, 
which  court  is  surrounded  by  porticoes  on 
all  sides  except  that  toward  the  temple. 
This  temple  is  to  be  compared  in  its  dis- 
position with  the  temple  of  Solomon  at 
Jerusalem. 
BACOLI  (anc.  Rauli).  Campania,  Italy. 

PiscrxA  iliHABiLis,  a  great  Roman 
covered  reservoir  on  the  liill  south  of  the 
town.  It  measures  230  ft.  by  80  ft.,  and 
has  a  vaulted  roof  supported  by  forty-eight 
roliust  cruciform  piers,  in  four  ranks.  It 
is  entered  ])y  two  fliglits  of  forty  steps,  at 
the  two  ends.  The  reservoir  forms  the  ter- 
mination of  the  Julian  Aqueduct.  There 
are  abundant  remains  by  the  shore  of  the 
ancient  Roman  villas  of  this  favorite  im- 
I)crial  resort.  The  Cento  Camerelle  or 
Carceri  di  Nci-one.  a  group  of  subterra- 
nean vaulted  chandjers  on  the  height,  in 
reticulated  masonry,  are  held  to  belong  to 
the  lowest  story  of  the  villa  of  .lulius 
Ca'sar  and  Augustus. 
BA1.\    (anc.  Baiae),  Canqiania,  Italy. 

The  Temple  of  Uiax.v.  so-called,  is  a 
large  octagonal  structure,  circndar  within, 
witli  a  pointed  dome  ilO  ft.  in  span,  in 
part  fallen.  There  are  four  large  niches  in 
the  walls.     Portions  of  the  water-conduit 


identify  it  as  a  bath.  The  u]U'ight  por- 
tion (if  the  wall  is  in  opns  i/ircrtiiiii  encased 
in  alternate  courses  of  Ijrick  and  tufa  : 
the  dome  is  in  small  stones  laid  in  hori- 
zontal courses,  bound  togethci'  and  sus- 
tained by  their  excellent  niortar.  Its 
thickness  is  about  4  ft. 

Temple  of  .Mercihv.  so  calli'd.  The 
main  jiortion  is  a  circular  l)uilding  111  ft. 
in  diameter,  with  a  domed  roof  which, 
like  that  of  the  Panthe()n,  has  an  open- 
ing at  the  apex  and  four  aridie<l  niches  in 
the  walls.  It  is  undoubtedly  tlu'  frigi- 
dariuni  of  a  bath.  With  tlu^  I'otunda 
conininnicate  two  other  structures,  both 
rectangular  and  with  Ijarrel-vaults.  The 
vault  of  the  chief  of  these,  no  douljt  the 
apodyterium,  or  disrol)ing  apartment,  is 
ornaiuentc'l  with  pleasing  reliefs. 

The  Temple  of  \'eni'.s,  so-called,  is 
octagonal  withmit  and  circular  within, 
94  ft.  in  interior  diainctci-.  and  has  a 
vaulted  ceiling.  It  has  eight  windows  in 
the  upper  part,  four  doors  below,  and  re- 
mains of  lateral  chambers  with  fliglits  of 
stairs.  It  is  evidently  a  portion  of  an 
ancient  bath.  The  ma.sonry  is  dj/iis  in- 
rcrfimi  with  casing  of  brick  and  iipiis  ir- 
ticuhthiiii.  'i'lie  wall  is  strengtheiuHl  with 
buttresses  one-tenth  as  deep  as  the  s]ian 
of  the  vault. 

Many  fragmentary  foundations  remain 
of  the  sjjlendid  Roman  villas  and  baths. 
The  most  conspicuous  antiquities  are  three 
considerable  colonnades  which  belonged 
to  the  ditTerent  baths. 
HAKl'SA,  Syria. 

The  Cllllicll  is  a  basilica  of  the  Syrian 
type  (sec  lliiiinin)  W  ft.  long  by  Oil  ft. 
wide.  .V  narthex  with  a  trijile  archcil 
entrance  crosses  the  west  front.  It  has  a 
nave  and  aisles  of  six  bays,  round-arclu'd 
arcades  on  Corinthianesque  columns,  and 
an  eastern  ajise  recessed  between  the  half- 
gabled  ends  of  the  aisles,  which  are  occu- 
pied, as  is  usual  in  this  region,  by  two 
.square  (duimbers.  The  roof  was  of  wood  ; 
a  close  range  of  arched   windows  formed 


48 


ATHENS- THE  ACROPOLIS 


IS. 

'ok 

(1 


I  -*,:-f  !    1    *  J-    '-I  - 


:^^. 


i!ALiu)ri;A 


the  clcrostnry.  ami  I  la-  apse  was  decorated 
with  a  niw  nt  coloiinettes  on  corbels  close 
under  the  cornice.  Four  gabled  pondies, 
each  with  a  pair  of  columns,  covered  four 
doors  in    the    two  aisles,   as  at    Kuweiha 

('/•'•■)• 

HALHOrHA  (Katara).  Asia  Minor. 

Theatre,  on  the  soutli  side  of  the 
Acropolis  hill.  'I'iie  exterior  diameter  is 
about  120  ft.:  tiiere  are  sixteen  tiers  of 
seats  curiously  interrupted  in  the  centre 
by  a  great  mass  of  the  solid  rock  of  the 
hill,  the  middle  of  which  is  hollowed  out 
as  if  for  a  chair  or  throne.  There  is  no 
trace  of  a  raised  stage,  but  there  is  a 
platform  on  the  same  level  with  the  or- 
chestra, supported  at  the  back  by  a  high 
wall  of  polygonal  masonry,  strengthened 
by  buttresses.  There  is  a  second  ancient 
theatre  on  the  site,  together  with  the 
remains  of  several  temjiles.  and  other 
ruins. 
BAKI,  Italy. 

The  C'atiieokai,.  dedicated  to  St.  Sa- 
binus.  is  an  interesting  Romanesque  basi- 
lica of  T-shaped  plan  originally  dating 
from  the  IX  cent.,  but  much  changed  by 
repeated  restorations  and  partial  rebuild- 
iugs.  Its  breadth  is  about  9U  ft.  and  its 
length  about  180  ft.  The  nave,  some 
'.i~  ft.  wide,  is  separated  from  the  aisles 
by  eight  columns  on  each  side,  of  uuir- 
ble  and  granite,  now  concealed  beneath  a 
covering  of  stucco,  and  supporting  round 
arches.  The  nave  is  covered  with  a 
modern  wooden  ceiling,  the  aisles  arc 
vaulted  each  in  nine  groined  oblong  bays, 
with  a  well-developed  upper  gallery  or 
gynwceum.  The  projecting  transept  is 
divided  by  two  great  arches  continuing 
the  line  of  the  nave  arches,  into  three 
square  bays,  the  central  one  covered  by 
a  low  octagonal  lantern  and  backed  by 
a  semicircular  apse.  A  staircase  at  the 
end  of  each  aisle  leads  to  a  fine  crypt, 
or  lower  church,  uiuler  the  transept, 
divided  by  columns  into  nine  aisles,  each 
of    fiiiii'    s(|iiai'c    groitu'(l    bays,    with     an 


apse  corresponding  to  that  above.  The 
front,  divided  by  Hat  pilasters,  follows 
the  (Hitline  of  the  nave  ami  aisles  ;  the 
central  division  has  the  renuiins  of  a  great 
rose  window,  and  a  jilain  gable  witli  a 
small  rose  al)ove.  'IMie  side  elevations  are 
perha[)s  the  most  interesting  portion  of 
tiic  church.  The  aisle  walls  are  high, 
with  a  blind  arcade  of  nine  round  arches 
on  thin  pilasters,  witli  a  plain  doorway 
under  the  middle  arch,  that  on  tiie  soutli 
side  being  covered  by  an  open  projecting 
porch  of  three  groined  bays.  Above  the 
blind  arcade  runs  an  eaves  -  gallery  of 
small  round  arclies  in  groups  of  six,  di- 
\  ided  l)y  slender  shafts.  The  clerestory 
has  single  round-headed  decorated  win- 
dows, and  a  thin  decorated  cornice.  The 
transept  ends  have  high  gables — the  blind 
arcade  of  the  aisles  is  carried  througli  in 
smaller  coupled  arches  uiulcr  bearing 
arches,  and  with  two  stories  of  two-light 
arcaded  windows  above  and  a  small  deco- 
rated rose  in  the  gable.  The  windows  of 
the  second  story  have  i)rojecting  sills 
flanked  by  corbels  bearing  lions.  The  east 
end  is  2)erfectly  flat,  the  apse  being  only 
an  interior  feature,  and  the  arcades  and 
windows  of  the  transept  are  continued 
here  across  the  church.  In  the  centre  is 
a  single  broad  round  -  arched  window, 
lighting  the  apse,  with  jamb  columns 
resting  on  elephants.  At  each  end  of  the 
iiidjroken  wall  rose  originally  a  lofty  angle 
tower  about  21  ft.  square,  of  which  that  at 
the  south  w-as  destroyed  in  Hii:!  and  has 
not  been  rebuilt.  The  other  is  I'omplete  ; 
its  height  of  about  212  ft.  is  divided  into 
six  stories  of  arched  windows  variously 
grouped  in  two,  three,  or  four  openings, 
with  a  decorated  cornice  and  battlement  ; 
and  above,  a  smaller  square  lantern  in 
two  stories  with  pyramidal  roof.  The 
lantern  at  the  crossing  shows  externally 
as  a  high  octagonal  wall  divided  by  slen- 
iler  shafts,  with  an  arched  corbel-taljle, 
and  a  bi'oad.  richly  decorated  frieze  of 
l>v/.antine  churactei'.  above    which   shows 


i'J 


J5AKI 


only  a  segment  of  the  doiiK'.  The  original 
clnirch.  as  old  as  the  ix  cent..  w;is  j;u1i- 
stiiutially  rebuilt  about  lu:il.  I'aitially 
destroyed  by  the  .Saracens  it  was  again  re- 
built and  eonseerated  in  llTl.  anil  again 
in  {■>'.>■>.  A  linal  restoration  in  the  tirst 
hair  of  the  xviii  cent,  left  little  of  the 
interior  untmiehcd.  Portions  of  the  tran- 
sept and  (if  the  east  end  are  believed  to 
behjng  to  the  original  construction. 

S.  GuKciOKio  is  an  old  Honianesqixe 
cliurcli  of  the  xi  cent..  ))i'obably  nearly  con- 
temporary with  the  two  greater  eiiurches 
of  tliat  town.  l)ut  jierhaps  souicwlr.it  older. 
Its  j)lau  is  a  rectangle  about  4.')  ft.  by  (i.j 
ft.,  with  three  eastern  apses;  the  nave  is 
covered  Ijv  a  wooden  roof  and  separated 
from  the  aisles,  which  are  groined  in 
square  bays,  by  six  narrow  stilted  round 
arches  on  each  side,  sjiringing  from  sim- 
])le  round  columns,  but  divided  by  square 
piers  into  two  groups  of  three  arches  each. 
Over  the.se  is  a  plain  clerestory  wall  with 
three  small  rouiul-arclied  windows  on  each 
side.  'L'he  front,  following  the  outline  of 
the  interior  section,  and  divided  by  flat 
piliister-strips,  has  one  high  and  simple 
round-arched  doorway,  under  three  single 
round-arched  windows,  and  in  the  gable  a 
blind  arch  enclosing  a  square  winilow  over 
an  arcade  and  set  about  with  grotesque 
heads  in  the  form  of  corbels.  Each  side 
com  part  iiient  has  only  one  small  round- 
arched  window,  high  up  and  filled  with 
pierced  marble  sial)s  in  a  geometrical 
pattern. 

S.  Xiiioi.n.  ;i  Iciiiiaiiescpie  church  of 
striking  design,  believed  to  have  been  in 
existence  as  early  as  the  beginning  of  the 
IX  cent.,  but  in  its  present  form  dating 
from  the  end  of  the  xr  cent.,  when  in 
lOST-S'.l  the  crypt  was  ])repared  to  receive 
tiie  ijody  of  the  saint,  Nicholas  of  .Myra  in 
Lyeia.  The  u])i)er  idiurch  was  finished 
about  IIiMi.  It  is  about  -^oii  ft.  long  and 
110  ft.  broad,  and  in  size  and  general  plan 
is  much  like  tlic  cathedral,  liaving  a  nave 
about  38  ft.    wide,    sejiarated    from    two- 


storied  aisles  about  20  ft.  wide  by  six 
round  arches  on  each  side  springing  from 
antique  granite  shafts  with  composite 
ca])itals.  The  aisles  are  in  six  square 
groined  bays,  with  three  rectangular  chap- 
els on  each  side,  and  two  recessed  porches. 
Tiie  upper  aisles  have  tine  high  arcades 
divided  into  groups  of  three  round  arches 
on  columns,  under  round  bearing-arches, 
above  which  is  an  arched  corbel-table  and 
string-course,  and  a  clerestory  with  snuill 
single -arched  windows  niuler  a  ilat  roof 
of  which  the  decoration  is  modern.  'J'he 
disposition  of  thi'  nave  is  peculiar,  its 
length  being  hal\cd  by  a  great  round 
transverse  arch,  and  the  western  half  be- 
ing bridged  by  two  similar  arches  which 
spring  from  cf)lumns  set  Just  inside  the 
nave  columns,  but  ri.se  only  to  the  aisle 
galleries.  The  nave  is  separated  from  the 
transept  by  a  screen  of  three  rouiul  arches 
on  Corinthian  eoluniiis,  similar  to  those 
of  the  nave,  and  the  transept  arms  are 
screened  oflf  by  the  choir  stalls.  The 
crossing  forms  the  choir,  now  modernized, 
ending  in  a  round  vaulted  ap.>;e.  Its  lloor 
is  raised  by  three  steps  above  the  nave, 
and  the  altar  is  covered  by  a  square 
ciborium,  in  which  four  angle -columns 
with  figure -caj)itals  carry  an  octagonal 
canopy  of  two  diminishing  stories  of 
stunted  shafts.  The  end  walls  of  the 
transept  are  flat,  their  upper  parts 
pierced  with  two  stories  of  two- light 
arclied  windows.  From  the  end  of  each 
aisle  a  stiiir  descends  to  a  noble  crypt  ex- 
tending under  the  whole  transept,  divided 
l)y  columns  into  square  groined  bays, 
with  four  windows  at  each  end.  and  a 
round  a])se  in  tiie  middle  unih'r  the  choir 
a))se.  Till'  ea|iitals  of  the  columns  are 
extremely  varied  and  interesting,  witii 
remarkable  Byzantine  sculpture.  Of  the 
exterior  the  facade  is  the  most  interesting 
portion.  It  is  divided  by  broad  pilasters 
into  three  comi)artments.  corresponding 
in  outline  to  tlie  nave  and  aisles,  with  a 
central    Liable    and    half-gables,    all    bor- 


50 


BARLETTA 


dercd  by  arcadcd  eaves  -  cornices.  The 
eeutnil  arelied  doorway  lias  a  gabled 
porch  borne  by  octagonal  columns  resting 
on  the  backs  of  beasts  wiiicli  themselves 
rest  on  corbels.  Its  sculpture  is  remark- 
al)le,  showing  bands  of  Byzantine  flat 
ornament,  figures  of  angels,  and  in  the 
tympanum  the  figure  of  a  saint.  A  blind 
arcailo  of  coupled  arches  crosses  the  front. 


to  have  been  founded  before  900,  but  re- 
liuilt  in  the  xii  cent.,  and  enlarged  at  tiie 
beginning  of  the  xiv.  A  sharp  dividing 
line  is  drawn,  jjarticularly  in  the  interior, 
between  the  architecture  of  tlie  earlier 
church  and  that  of  the  addition.  Tiie 
lengtli  of  the  two  portions  is  nearly  equal  ; 
the  w'cstern  half  is  Lombard  in  charac- 
ter, with  four  i-()uiiil  ai'ches  on  each  side 


Fig,  30  -Bari.  S    Niccoib. 


Above,  in  each  comjiartmeut.  is  a  stand- 
ing figure  of  a  saint  in  a  niche,  and  still 
higher,  two-light  windows  with  muUion 
shafts.  The  front  is  flanked  by  square 
towers,  both  unfini-shed  :  the  northerly 
one  in  two  stories,  with  plain,  round- 
arched  doorway  Ijelow  and  panels  above, 
arched  corbel-table  and  horizontal  cornice. 
This  church  is  the  centre  of  the  cult  of 
St.  Xicholas.  His  body  was  pilfered 
from  ilyra  in  1087  by  Barian  merchants, 
and  Urban  II.  came  to  deposit  it  in  the 
crypt  in  1089.  The  council  of  1008  was 
held  in  the  church.  (See  Fiq.  30.) 
BARLETTA.  Italy. 

Sta.  ilAiUA  .Ma(;i;ioue,  or  del'  Assun- 
zione.  the  chief  eliurch  of  the  town,  is  an 
ancient    Romanesque    building   presumed 


springing  from  anti<|uc  columns  of  marble 
witJi  attic  bases  and  medieval  Corinthian 
capitals  with  stilt-blocks.  Above  these  is 
an  upper  gallery  with  coupled  round 
arches,  over  which  is  a  clerestory  wall  with 
single  small  windows  under  a  wooden 
roof.  The  eastern  half  is  distinctly  Goth- 
ic, w'itli  groined  nave  and  aisles  separated 
by  four  high  pointed  arches  on  each 
side,  of  unequal  lireadth,  springing  from 
grouped  piers,  with  vaulting  shafts. 
There  is  no  triforium,  and  a  single  small 
pointed  window  pierces  the  clerestory  wall 
in  each  bay.  Tlie  choir  ends  in  an  ajjse 
with  five  pointed  arches  opening  into  as 
many  radiating  vaulted  chapels,  and  with 
a  single  pointed  window  over  each  arch. 
This  apse  is  a  very  nnusnal  instance   in 


BAFLI 

soutlu'i'ii  Italy  of  the  use  of  the  iiDi-thei-ii  ijuilt  of  aoocl  masonry  in  basalt.  The 
(fotliic  foi-tiis  ami  construction.  'i'hc  interior  passages  and  the  outlets  are  well 
fai;aih'.   narrow   ami    high,   following    the      piH'served.      It  is  said  to  have  recesses  for 


Fig    31  — Barletta,  S   M.  Maggiore. 


outline  of  the  interior,  is  divided  into 
three  conipartnients.  each  with  an  en- 
trance doorway.  Those  of  the  side  com- 
partments are  old.  with  grotesque  sculpt- 
ure, and  over  eai-li  is  a  two-light  shafted 
window  surrounded  liy  a  triple  horder 
of  decoration.  Over  the  modci-n  centi'al 
doorway  is  a  hirge  early  enriched  window 
with  jaiid)-coluinns  and  a  rose  in  thegahle 
above.  An  arcaded  cm-bcl  -  table  follows 
the  rake  of  the  cornice  of  the  whole  fi'ont. 
The  fine  tower  is  of  the  mi  cciitui'v.  (Sec 
Fir/.  31.) 

l^ASSAK.      See  PhUjnlna. 
HKin{A:\r.     see  ^.9,so.<r. 
HKISAX  (anc.  lk>th-Shean).  Palestine. 

l\()M.\x  '!'iri:.VTi!K.  on  the  south  side  of 
tlie  hill.  It  is  about  ISO  ft.  in  diameter, 
and  twelve  tiers  of  seats  are  visible.  The 
cavea  is   supported   on    vaulted   galleries 


the  ichvii  or  acoustic  vesseLs  described  by 
\"it  ru\  ius. 

The  Ivomaii  renniiiis  are  considerable, 
and  include,  l)esides  the  theatre,  portions 
of  the  massive  walls,  with  a  tine  arch 
flankeil  by  ('orinlliian  columns  which 
[ii'obahly  hcloiigcd  to  one  of  the  gates, 
ami  ruins  of  several  temiiles  with  walls 
and  stereobates  of  basalt  and  marble  col- 
umns, aliout  two  do/cn  of  wliicli  arc  still 
standing.  To  the  \.E.  of  the  hill  is  a 
necri)[)olis  with  rock-tombs,  some  of  them 
closed  by  hinged  stone  doors  and  contain- 
ing sareo])hagi.  There  is  also  a  fine  Ko- 
maii  liridge. 
IJKLLA  PAIS.  Cyprus. 

'I'he  Hknkdktin'k  ^loxAsTKin.  though 
ruined,  is  an  interesting  and  solitary  e.x- 
ample  of  a  monastery  in  this  part  of  the 
world.      There  remain  the   small    (iothic 


62 


BEXEVEXTO 


cliurch  ■with  three  sides  of  the  cloister, 
iu're  set  on  the  iiortli,  j)n)l);ibly  owing  to  the 
ehanicter  of  the  ground,  and  surrounded 
by  the  conventual  buildings.  The  Gothic 
architecture  is  of  the  xiv  cent,  or  later. 
The  churcli  consists  of  a  nave  and  aisles  of 
three  bays,  a  short  transept,  and  a  square 
chancel.  Before  the  west  door  is  an  open 
areaded  porch.  The  transept  arms  are 
covered  with  a  bai'rel- vault,  the  other 
vaults  being  groined.  The  cloister  was 
surrounded  by  broad  arches  with  compli- 
cated tracery.  Against  its  eastern  side  were 
a  chapter-house  and  dormitory,  and  on  the 
north  is  a  line  vaulted  hall,  probably  the 
refectoi'v. 
BEXEVEXTO.  Italy. 

The  C.\THEi)UAL  of  Sta.  Maria  is  one 
of  the  most  ancient  of  Lombard  chnrehes 
of  South  Italy,  though  repeated  restora- 
tions and  rebuildings  have  left  little  of 
the  early  architecture.  The  remains  of  a 
colonnaded  atrium  are  to  be  seen  before 
the  front,  wliicli  is  the  most  interesting 
portion.  It  is  in  two  stories  of  blind 
arcades,  seven  round  arches  in  each  story, 
those  of  the  first  story  high,  on  broail  flat 
pilasters  ;  two  of  the  arches  having  a  loz- 
enge in  the  head,  after  the  Pisan  manner. 
There  is  a  central  doorway  with  pilasters 
carrying  a  broad  lintel  and  tympanuni 
under  a  round  bearing-arch,  the  whole  cov- 
ered with  decoration  of  Byzantine  char- 
acter. The  second  story  has  a  bolder  ar- 
cade carried  on  low  columns  with  curious 
capitals.  The  fine  bronze  doors  with  re- 
liefs in  the  panels  date  from  1150,  but  were 
restored  in  1093.  Above  is  a  horizontal 
Renaissance  cornice,  over  which  appears 
the  flat  l)are  face  of  the  nave,  with  a  low 
gable.  At  the  north  angle  of  the  front 
stands  a  large  square  detached  bell-tower, 
jilaiu  below,  with  a  band  of  small  anticpie 
sruli)tured  figures  across  the  face,  a  strong 
corbel-table,  surmounted  by  a  square  bel- 
fry with  a  single  two-light  arched  opening 
in  each  face.  The  interior  is  five-aisled, 
a  T-shaiu'il  basilica  in  plan,  with  close-set 


rows  of  fluted  columns,  fifty-four  in  num- 
ber, with  lionian  Doric  capitals,  carrying 
round  arches  and  an  entablature.  The 
clerestory  wall  is  very  corrupt  in  style  and 
is  jjierced  with  round  windows.  The  nave 
is  covered  by  a  flat  panelled  ceiling,  and 
ends  in  a  triumphal  aixdi.  The  transejjt 
does  not  project  beyond  the  aisle  walls, 
and  has  a  round  central  ajjse  with  semi- 
dome.  The  interior  was,  with  the  excep- 
tion of  the  arcades,  completely  modernized 
in  the  xvii  century.  Two  fine  pulpits 
about  10  ft.  square,  supported  by  columns 
of  black  marljle  and  granite  with  decorated 
shafts  standing  on  monsters  and  with  cap- 
itals in  which  the  leafage  is  varied  liy  fig- 
ures and  heads,  date  from  the  xiv  cen- 
tury. The  original  cathedral,  founded  as 
early  as  the  beginning  of  the  vii  cent, 
and  destroyed  by  an  earthquake,  was  re- 
built and  finished  in  1047.  Parts  of  this 
building  still  remain,  notably  the  arcades 
of  the  interior  and  the  lower  jjortion  of 
the  front — the  remainder  of  the  exterior 
belongs  to  the  period  between  1114  and 
127'.). 

Sta.  Sofia  is  an  early  Romanesque 
churcli.  with  a  peculiar  ])laii.  consisting 
of  a  circle  about  75  ft.  in  diameter,  of 
which  on  the  exterior  the  western  third 
is  cut  off  by  a  long  rectangular  narthex 
with  a  frontage  of  about  105  ft.  Within  is 
a  central  hexagon  formed  Ijy  six  antic|ue 
Corinthian  columns  supporting  round 
arches,  from  which  rises  a  dome.  The 
space  outside  the  central  hexagon  is  di- 
vided by  a  ring  of  ten  columns  into  two 
circular  aisles,  of  which  the  bays  are  cov- 
ered by  vaults  of  various  forms,  trian- 
gular, trapezoidal,  and  domical.  At  the 
east  ojjens  a  square  tribune.  The  exte- 
rior has  much  of  the  Lombard  character. 
The  west  front  has  a  blind  arcade,  witli 
lozenges  in  the  arch-heads,  and  a  central 
door,  flanked  by  Corinthian  columns 
carrying  an  architrave,  over  which  is  a 
round  bearing -arch  with  tympanum 
charged  with    sculpture    on  a  grcuind   of 


S! 


BERGAMO 


irold  iiiosair.  'I'hc  hiiililitijr  lias  suflereil 
miiuli  from  rciieatci)  earthquukos  and  con- 
sequent   restorations.       The    c'liiirch    be- 


Fig.  32 — Benevento,  Trajnn's  Arch. 

longed  to  a  oonvent,  first  of  nuns,  then  of 
Benedictine  monks.  The  adjacent  cloister 
lias  an  arcade  of  some  sixty  columns  with 
varied  and  partly  grotesque  capitals,  most- 
ly with  stilt-blocks. 

The  Roman  Triimi'IIal  Aki  ii.  which 
once  spanned  the  \'ia  Appia,  now  serves  as 
one  of  the  gates  of  the  city,  and  is  com- 
monly called  the  i'orta  .\urea.  It  was  l)uilt. 
A.I).  114,  in  liiJiiiii-  III'  Ti'ajan,  liv  the  Rm- 
niaii  Senate  and  jiuople,  according  to  the 
inscription  on  the  attic?  on  both  faces.  It 
is  one  of  the  finest  and  best  preserved  of  all 
ancient  triumphal  andies.  The  front  is 
48  ft.  high  by  30  ft.  4  in.  broad,  pieri'cd 
by  a  single  arrli  1(1  ft.  4  in.  by  '^(i  ft.  'J  in. 
high,  with  two  ('oi'inthian  fluted  columns 
on  each  side  supporting  an  elaborate  en- 
tablature ;  above  is  an  attic  in  three  com- 
partments,    till'      middle     one     iiiscribcil. 


Kacli  front  is  decorated  with  a  frieze  and 
several  superimposed  Ijands  of  sculptures, 
representing  the  Daciaii  wars,  the  Em- 
peror' s  triumphs,  etc.  Tlu'se 
sculjitures  are  not  excelled  by 
any  other  extant  specimens  of 
Iioman  art.  In  the  spandrels  of 
the  arch  are  ^'ictories.  The  ma- 
terial is  white  iiiai'lile.  [Scr 
/■/■//.  .1.'.) 
I'.ERCAMO.  Italy. 

The  ]5kolett(),  a  small  but 
beautiful  examjile  of  the  niediiV- 
val  town -halls  of  North  Italy. 
It  is  a  (iothic  building  of  stone 
supported  wholly  on  detached 
])iers  and  columns  with  jiointed 
arches,  the  first  story  being  open 
to  the  street  on  all  sides,  with 
groined  vaulting.  The  front  on 
the  square  presents  three  arches 
springing  from  broad  square 
pit'rs  with  foliated  capitals.  The 
second  story  \\all  is  pierced  by 
three  largi'  three-light  windows, 
the  two  at  the  sides  with  trac- 
ei-y  and  mullion- shafts  under 
pointed  ai'ches.  The  central 
window,  apparently  rcl}uilt.  is  flanked  by 
Renaissance  columns,  with  a  rude  order  of 
columns  and  entablature  above.  It  has  a 
large  balcony  which  marks  it  as  the  riii- 
gliiera.  from  which  the  magistrates  were 
aeeustomed  to  address  the  iieople.  The 
building  dates  jirobalily  from  the  xiii  cent., 
and  groups  jucturesquely  with  the  church 
III'  Sta.  ^laria  ^[aggiore,  the  clock-tower 
and  an  open  staircase  forming  the  ajiproach 
to  the  upper  stories  of  adjoining  buildings. 
('APEi.r.A  CoLl.EOXi,  the  Inirial  chapel 
ot  the  great  C'ondottiere,  dates  from  147(1. 
and  stands  on  the  north  side  of  the  church 
of  Sta.  Maria  Maggiore,  to  which  it  is 
attached.  It  has  aii  extravagantly  deco- 
rated facade,  incrusted  with  a  mosaic  of 
marble  in  geometrical  patterns  and  with 
an  open  arcaded  gallery  at  the  summit  of 
the    wall  ;    the   whole    surmounted    li\    an 


;s--?iti.  ^ 


BETHLEHEM 


octagonal  dome  raised  on  a  three-story 
tambour.  Tlie  interior  is  decorated  witli 
frescoes,  chiefly  by  Tiejidlu.  ami  contains 
several  notable  monuments,  among  whicli 
that  of  Bartolommeo  Colleoni  iiiniself, 
profusely  ornamented  with  bas-reliefs  and 
surmounted  by  his  statue,  aiul  that  of  his 
daughter  Medea  are  the  most  renuirkaijlc. 

Sta.  ^Iakia  Maiuuoue  is  an  early  Ho- 
manesque  church,  cruciform  in  plan,  and 
of  simple  exterior,  with  high  walls  and  flat 
gables,  windows  small  and  plain,  flat  but- 
tresses, corbel  -  tables  under  the  cornices 
and  following  the  rake  of  the  gables,  a  tall 
s(iuare  campanile  at  the  angle  of  the 
north  transept  witii  the  choir,  and  an  oc- 
tagonal lantern  at  the  crossing.  Tlie 
church  has  undergone  extensive  altera- 
tions and  is  now  chiefly  interesting  on  ac- 
count of  its  two  porches  at  the  transept 
doorways,  very  elaborate  compositions,  of 
which  that  on  the  north  is  the  more 
remarkable.  It  consists  of  a  broad  and 
lofty  round  barrel-vaulted  projection  su]i- 
]M)rted  by  two  slender  white  marble  col- 
umns resting  on  lions.  Above  this  is  a 
sort  of  loggia,  with  three  pointed  and 
cusped  arches.  The  loggia  is  groin-vault- 
ed, and  minutely  decorated  with  panels 
and  inlay  of  black,  red,  and  white  mar- 
bles ;  under  it  are  three  statues,  of  which 
the  central  one  rej)resents  the  Duke  Lu- 
pus on  horseback.  Above  is  an  inferior 
third  story,  a  squ;ire  open  niche,  with  a 
higli  pyramidal  roof.  Tlie  interior  of  the 
cliureh  has  been  almost  entirely  modern- 
ized. Its  five  apses,  on  choir,  transept, 
and  aisles,  still  remain  substantially  in 
tiieir  original  form.  The  church  belongs 
originally  to  the  first  half  of  the  xii  cent.  ; 
the  porches  are  two  centuries  later — an  in- 
scription on  one  of  the  stones  giving  the 
date  of  i:U!t-.iO,  and  the  name  of  the 
architect,  Johannes  di  Campilio. 
BET'lILEHEM,  Palestine. 

C'HriiCH    OF   THE    NATIVITY,    or   of   St. 

ilary.     The  tradition  is  that  this  basilica 
was  built  l.iy  the  Emi)ress   Helena,  mother 


of  Coustantine,  over  the  jilace  wher(!  Clirist 
was  born.  It  lies  on  the  northern  slope 
of  the  hill  on  which  Bethlehem  is  built, 
almost  liuried  between  the  Latin  convent 
on  tlie  north  and  the  (rreek  and  Armenian 
on  tlu;  south.  In  front  of  it  is  an  opi'ii 
paved  square,  on('i'  ajiparcntly  tlie  atrium 
of  the  basilica,  fi-oni  which  the  enclosing 
colonnade  has  disappeared.  The  facade 
is  crossed  by  a  low  narthex  or  vestibule 
below  the  plain  gable  of  the  nave.  It  is  a 
double-aisled  basilica,  with  transept  and 
choir  extended  to  the  eastward,  but  diilers 
from  the  Latin  basilicas  in  having  an  apse 
not  only  at  the  east  of  the  choir,  but  at 
each  end  of  the  transept.  The  uarthex 
has  been  cut  up  into  rooms,  only  the  mid- 
dle door  being  now  open  to  the  cluirch,  and 
that  made  as  small  as  possible,  f(3r  defence 
against  wandering  Arabs.  Tlie  interior 
length  is  about  190  ft.,  but  is  blocked  by 
a  hideous  wall  with  a  triangular-headed 
opening  which  the  Greeks  built  about  fifty 
years  ago,  to  cut  off  the  choir  and  transept 
from  the  nave.  The  nave  and  aisles, 
eleven  bays  long,  are  divided  by  four  rows 
of  Corinthian  columns  1'.)  ft.  high.  Those 
next  the  nave  carry  an  architrave  which 
supports  a  high  clerestory  wall,  [lierced 
high  up  with  round-arched  windows,  above 
which  is  a  rough  open  timbered  roof  of 
the  XVII  century.  The  nave  is  about  'Si 
ft.  wide  and  50  ft.  high  to  the  feet  of  the 
rafters,  and  well  lighted ;  the  aisles  are 
low  and  dark,  being  covered  by  a  flat 
ceiling  whicli  rests  on  the  architrave  over 
the  columns,  and  there  is  no  triforium  or 
giillery.  The  whole  of  the  wall  has  been 
covered  with  rich  mosaic  on  a  gold 
ground,  provided  during  the  occupation 
of  Palestine  in  the  xii  cent,  by  the  Greek 
Emperor  Comnenos  Porphyrogenetes.  This 
divided  the  unbroken  part  of  the  wall  into 
two  bands,  the  lower  occupied  by  half- 
length  figures  of  the  ancestors  of  Clirist, 
the  upper  by  records  of  the  early  councils 
of  the  Church  in  panels,  and  conventional 
representations   of   the   church  -  buildings 


1  IS  11  KAN 


of  tJR'  cities  wlieiT  tlicv  were  held,  sepa- 
rated by  elaborate  ])aiiels  of  seroll  foliage. 
Between  the  elerestory  window.s  are  figures 
of  angels.  Much  of  this  has  disappeared, 
but  euougli  remains  to  show  the  former 
splendor  of  the  building.  The  nave  is  as 
wide  as  the  two  aisles  on  either  side,  and 
the  transept  is  as  wide  as  the  nave. 
The  aisles  reappear  in  one  bay  beyond  the 
transept,  and  tlie  order  of  columns  is  car- 
ried about  the  choir  and  transept  ;  but 
here  it  bears  a  complete  Corinthian  en- 
tablature. From  each  side  the  choir  ste])s 
lead  down  to  a  large  and  rambling  crypt, 
where  are  shown,  directly  under  the  centre 
of  the  choir,  the  cave  or  grotto  in  which,  it 
is  said,  Christ  wiis  born.  Near  by  is  the 
manger  in  which  he  was  laid.  These  parts- 
of  the  crypt  are  lined  with  marble  and 
lavishly  adorned.  There  is  also,  converted 
into  a  chaioel,  the  chamber  where  St.  .Je- 
rome passed  many  years  of  seclusion  and 
composed  most  of  his  writings.  There  is 
no  one  of  the  sacred  buildings  of  the 
Holy  Land  of  wiiicli  the  history  can  be  so 
iininterruptt'dly  tracrd,  or  which  has  been 


Fig.  33.— Bethlehem,  Ch   of  the   Nativity. 
Scale  of  100  feet. 

apparently  so  little  changed.  Eusebius 
says  that  Helena,  visiting  the  Holy  Land, 
decorated  the  ])laoe  of  the  Xativity,  and 
that  Constantine  built  there  one  of    the 


three  splendid  edifices  that  he  raised  in 
Palestine.  The  early  writers  of  the  (.'hurch 
and  many  pilgrims  have  left  descriptions 
which  indicate  its  continued  existence.  In 
the  vm  cent,  appears  for  the  first  time  a 
story  that  the  basilica  was  rebuilt  by  .Jus- 
tinian. )Some  mddeni  authorities  have 
thought  this  verified  by  tlie  triapsidal  ar- 
rangement of  the  choir,  but  examination 
seems  to  show  that  the  church  is  homoge- 
neous, and  that  the  colonnades  of  the  nave, 
and  especially  the  treatment  and  execution 
of  the  order  that  is  carried  rotrnd  the  choir, 
cannot  be  so  late  as  Justinian,  or  indeed 
later  tlian  Constantine.  (Sec  Fig.  o-l.) 
BKTII-SIIKAX.  See  Bei.saii. 
P>KT  .liUKlX  (jirobably  anc.  Eleuther- 
opolis),  Palestine. 

The  Roman  remains  are  extensive,  a 
great  i)art  of  the  modern  houses  incorpo- 
rating ancient  walls,  columns,  etc.  Parts 
of  the  ancien.t  walls  survive.  A  fort  on 
the  N.  W.  has  towers  at  the  angles.  The 
cliffs  in  the  neighborhood  are  full  of  rock- 
chambers,  round,  aiul  vaulted,  tlie  vaults 
being  su]iported  on  detached  pillars.  They 
are  -.'(I  ft.  to  :>.3  ft.  in  diameter  and  30  ft.  to 
4ii  ft.  high,  and  lighted  by  a  shaft  from 
above.  These  chambers  were  probably  in- 
tended for  dwellings,  for  which  purpose 
and  for  staldes  some  of  them  now  serve. 
HI  EDA  (anc.  Blera),  Etruria,  Italy, 

AxciEXT  Bridges.  One,  of  a  single 
arch  of  2-i  ft.  3  in.  span,  in  masonry  of 
large  square  blocks  without  mortar,  part 
in  alternate  courses  of  headers  and 
stretchers,  the  lowest  courses  drafted,  is 
Etruscan.  This  bridge  is  intere.sting  in 
tliat  on  one  side  the  rock  ri.ses  to  the 
height  of  the  impost  and  is  hewn  to  the 
form  of  a  pier,  while  the  pier  on  the  oj)- 
l>osite  side,  where  the  gi'ound  is  low,  is 
wholly  of  masonry.  The  other  bridge,  of 
three  arches,  has  Etru.«can  ])iers,  but  the 
arches  are  Roman.  The  original  Etrus- 
can bi-idge  doubtless  had  a  superstructure 
of  wood.  The  span  of  the  largest  (central) 
arch  is  about  30  ft. 


5(i 


lUELLA 


Xechoi'olis.  In  tho  cliffs  bordering 
the  high  tongue  of  hind  on  wliicii  the  un- 
cieut  town  stood,  tliere  is  an  extensive 
Etruscan  necropolis  hewn  from  tho  rock. 
There  are  numerous  artificial  caverns,  in 
terraces,  with  pedimentcd  architectural 
fa9ades  of  varied  ilecoration  ;  many  of 
them  imitate  ancient  habitations  somewhat 
in  detail,  and  some  fallen  blocks 
are  hewn  into  the  form  \)t  iso- 
lated houses.  It  is  usual  in  the 
interior  to  find  the  square  ridge- 
l)eam  of  the  roof  and  the  rafters 
carved  in  relief.  Tliere  is  often 
a  window  ou  each  side  of  the 
door. 
lUELLA.  Italy. 

The  ]?APTisTERY  is  a  singular 
little  building  of  historic  inter- 
est.    Its  plan  is  a  square  with  a 
semicircular  domed  apse  on  each 
face,  out  of  which  the  upper  wall 
rises,   still  square  within    but 
with  each  side  thickened   in  thi' 
middle,   so  that  it  becomes  oc- 
fagonal    without  and   supports, 
with    the   help  of'  corbelling  in 
the   angles,    a    hemispherical 
dome,    of  which   the   crown   is 
about   34:   ft.    above    the    ))ave- 
ment.     The  drum  is  tinisl)ed  by 
a  large  arched  corbel-table  and  a 
low  roof  over  the  dome,  which, 
as  well  as  the  roof  of  tlie  apses 
below,  is  covered  by  the  stone  tiles  laid 
directly  on  the  masonry  of  the  vaults,  no 
wood  being  used  in  the  construction.    This 
building   is  almost   identical   in  structure 
with   the   little   chapel    of   Ste.    Croi.x:   at 
Montmajour  near  Aries.     Count  Jlella,  in 
the  absence  of  authentic  records,  considers 
it  to  belong  to  the  viii  or  ix  century. 
HITETT(5,  Italy. 

The  Cathedk.vl.  founded  early  in  the 
IS-  cent,  and  dedicated  to  St.  ilichael,  was 
suljstantially  rebuilt,  according  to  an  in- 
scription on  the  facade,  about  Io;i.').  though 
certain  portions  of  the  exterior  jiroljably  be- 


long to  an  older  construction.  The  facade, 
which  follows  the  outline  of  the  nave  and 
aisles,  has  a  rich  pointed  middle  doorway, 
consisting  of  a  square-headed  o})ening  with 
sculptured  tympanum  and  decorated  ar- 
chivolts,  borne  by  fiat  pilasters  and  short 
columns  resting  on  grotesque  beasts,  with 
fantastic   cajiitals   and   with    stilt  -  blocks. 


Fig.  34— Bitetto,  Cathedral. 


Above  is  a  round-arched  two -light  win- 
dow, and  in  the  gable  a  fine  rose,  be- 
tween slender  colonnettes  on  corbels  car- 
rying a  broad  decorated  archivolt.  The 
side  compartments  have  plain  door -ways 
with  tympana,  and  two  -  light  windows 
above.  At  the  left  of  the  facade  is  a  tall 
modern  tower  with  successive  belfry  stages, 
leaning  against  the  dome  of  a  modern 
chapel  behind  it.  The  interior  has  a  nave 
and  aisles  separated  by  arcades  of  mingled 
round  and  pointed  arches  sjiringing  from 
square  piers  with  a  half  column  on  each 
side  and  an  apsidal  choir.     TMie  nave  has  a 


57 


lU'l'dNTo 


wooden  ceiling:  tlie  aisles  ure  groiiieil  in 
s((Uiire  Ikivs.     (Sec  Fiij.  t>,J.) 
BITUN'KJ,  Italy. 

The  Cathedral,  ileilicated  t^  St.  \'ul- 
entine.  is  believeil  to  have  l)e('ii  t'diinilcMl  in 


two  t^roiips  ol'  three  l>v  a  ]iair  of  eoiiiiidiuul 
piers.  The  chapel  on  each  sitle  next  the 
transept  is  rejilaeecl  Ijy  an  open  recessed 
liorcli.  The  whole  interior  is  modernized, 
with  tnnnel-vanlts  in  nave  and  transei)t.  and 
a  great  order  of  Corinthian  pilas- 
ters, all  in  stucco.  A  crvpt  ex- 
tends under  the  transept.  The  cx- 
teridi-  is  (if  great  interest,  and  is 
pcrhajis  tlie  liest  existing  example 
of  the  miidilii-ation  of  the  Lom- 
liard  fdi'uis  in  the  suntli  (if  Ital\-. 
The  front  shows  a  gaf>led  nave 
between  two  lean-to  aisles,  with 
three  doorways  umlci-  rduml  an-h- 
I's  and  tyni])ana.  cnuplrd  ai'chccl 
windows  DVci'  thcin.  and  a  haiid- 
.somc  ro.se  in  the  central  gable. 
The  central  door  is  a  richly  deco- 
rated [lortal.  eni'losed  in  two 
bands  of  foliage,  between  slender 
shafts  resting  on  lions,  with  tall 
capitals  sujijiortiiig  grlHins.  The 
rose-wiiulow  in  the  gable  is  flanked 
by  two  slender  columns  on  corbels 
supporting  figures  of  lions,  from 
which  springs  a  sculi)tured  hood- 
nioulding.  'I'he  Hanks  of  the 
church  are  also  interesting.  The 
aisle  walls  ha\c  a  blind  arcade, 
continued  round  the  transept  and 
east  end.  with  a  single,  narrow, 
I'ounil  -  arched  window  in  each 
arch.  At  the  top  of  the  wall  and 
abo\e  the  eaves  is  an  o])en  arcadcd 
screen  with  I'ound  arches  in  groups 
the  1\  ceid..  but  in  its  ]iresent  foi-ni  is  of  six.  on  columns.  The  clerestory,  di- 
])robably  not  older  than   the  early  part  of     vided  by  slender  engaged  shafts  ending  in 


Fig    35  — Bttnr.to    Cathedral    P„'pit. 


the  xir  century.  Its  plan  is  a  rectangle 
about  SO  ft.  broad  and  100  ft.  long.  Of 
this  length  about  one-third  is  given  to  the 
undivided  transe]it.  of  whicii  the  eastci-ii 
wall  is  recessed  in  threi'  flat  apses,  not 
showing  on  the  exterior.  The  remaining 
length  is  divided  into  a  nave  and  aisles 
with  two  ranges  of  lateral  cha])els.  'i'lie 
nave  is  l)ordered  by  six  arches  on  each  side 
supported    by  columns,  and   divided    into     a  parallelo; 

as 


ail  arched   corliel-bible.  had   small   roiind- 
ai'che(l  wiiKlows  irregularly  dis])oscd.  uliicli 
ari'  now  blocked  up.      {Sec  Fi<j.  -i'l.) 
lU.HRA.     See /.'W,^ 
I'.OCIIAZ-KFXr  (Pteria).  Asia  -Aliiior. 

iliTTiTP:  Palaci:.  founded  on  an  artifi- 
cial terrace,  and  in  other  ways  presenting 
close  analogies  with  Assyrian  structures  of 
similar  character,     'i'he   foundations  form 
ram,  ISi  ft.  by  i;JS  ft.,  of  large, 


BULCASCUOE 


irregulur  blocks  of  stone,  secured  together 
by  iron  cramps.  The  superstructure  w:is 
iu  brick.  Tlie  disposition  of  the  rooms  is 
of  the  usual  oriental  t\^ie.  The  cliief 
gate  is  an  independent  structure  or  pylon 
.5'J  ft.  deep  ;  two  lion -heads  project  on 
either  side  of  the  door  above  the  lintel. 
Xear  the  2)alaceare  remains  of  other  build- 
ings as  well  as  of  the  city  walls  about  two 
miles  in  circuit,  and  the  rock-reliefs  called 
lasili  Ku'la.  or  the  Inscribed  Stone.  The 
Hittite  art  is  not  an  original  art ;  it  is  de- 
rived from  the  Assyrian,  which  it  follows 
more  or  less  rudely  and  closely,  modified 
by  influences  akin  to  the  Phooniciau,  and 
with  local  elements,  such  as  the  usual 
high  tiara  and  uj^turned  shoe,  and  other 
details  of  costume.  Eemains  of  this  art 
abound  in  the  northern  half  of  Syria  and 
in  southeastern  Asia  ilinor. 
BOLOASCOOE  (Bolkazkeui),  Asia  Mi- 
nor. 

RoJiAX  TiiEATUE,  remarkable  for  its 
admiraijle  preservation.  At  the  top  the 
stone  sockets  for  the  awning-jjoles  are  still 
in  place.  The  interior  is  described  as 
practically  perfect,  together  with  the 
vaulted  substructions.  The  cavea  is  sur- 
rounded above  Ijy  an  arcaded  gallery, 
whose  arches  rest  on  brick  columns  coated 
with  stucco  ;  the  columns  have  ornate  cap- 
itals. The  wall  at  the  back  of  the  stage 
stands  entire,  and  is  jn-ofusely  ornament- 
ed with  rectangular  niches,  a  balcony, 
and  other  features,  in  white  marble  ;  the 
sculpture  includes  heads,  masks,  flowers, 
dolphins,  animals,  and  eagles.  The  faces 
of  the  walls  were  coated  with  white  stucco 
bearing  designs  in  red,  marked  out  in 
black  ;  the  interior  of  the  niches  was  light 
blue,  and  color  remains  also  on  the  masks. 
BOLOGXA.  Italy. 

Baptistery.     See  S.  Sfcfdiio. 

Casa  DEI  Caracci.  a  small  palace  of 
the  XV  cent,  in  Ijrick  and  terra-cotta,  ])re- 
snmed  to  have  been  occupied  at  one  time 
by  the  painters  of  that  name,  and  remark- 
able for  some  unusual  features  of  design. 


It  has  a  high  battering  stone  basement, 
from  the  upper  part  of  which  project  great 
brackets  bearing  broad  arches  of  l)rick 
with  decorated  archivolts,  which  carry 
the  wall  of  the  upper  stories.  Above  the 
arches  a  string-cmirse  of  terra-cotta  bears 
a  range  of  round-arched  two-light  windows 
with  pilasters  and  decorated  archivolt. 
There  is  a  low  third  story  with  round  win- 
dows in  the  frieze  of  a  richly  decorated 
cornice. 

CoRTE  Di  PiLATO.     See  S.  Stcfaiiii. 

Foiio  DEI  Mercanti.     See  Slercanzia. 

Madoxxa  ui  Galliera.  a  .small 
Kenaissance  church  of  the  xviiceut.,  with 
a  M  urn  stucco  facade  of  much  beauty.  It  is 
in  two  stories,  separated  by  an  enriched 
entablature  which  crosses  the  front,  being 
carried  by  Corinthian  couided  pilasters  at 
the  corners,  and  broken  over  detached 
columns  by  the  great  central  door,  whose 
arch,  flanked  by  decorated  pilasters,  rises 
into  the  second  story  and  is  covered  by  a 
pediment.  In  the  second  story  the  angles 
are  marked  by  two  niches  on  each  side, 
one  above  another,  bearing  statues,  and 
tlie  wall  between  is  divided  by  slender 
fluted  jnlasters  into  three  bays.  The 
facade  ends  in  a  very  heavy  and  richly 
decorated  corniccione,  beneath  which  is  a 
broad  frieze  Avith  niches  and  half-length 
statues. 

Mauoxxa  1)1  S.  LriA.  An  interesting 
modern  church,  built  in  IT.'il  from  the  de- 
signs of  Dotti.  It  stands  on  the  summit 
of  a  hill,  the  ilonte  della  Guardia,  some  two 
miles  from  the  town  gate,  and  is  ajiproached 
from  the  foot  of  the  hill  by  a  continuous 
arcade,  rather  more  than  a  mile  in  length, 
of  six  hundred  and  thirty-five  arches,  liuilt 
between  Wi^i  and  ITlid,  and  following  the 
conformation  of  the  ground,  with  occa- 
sional chajjels.  The  church  has  a  singular 
plan  which  may  be  described  as  a  cross 
inscribed  within  an  ellipse.  The  centre  is 
bounded  i)y  four  great  arches  which  sup- 
port a  hemispherical  dome  raised  on  a 
drum  and  surmounted  by  a  cupola.     The 


r.OLOCXA 


Fig.  36. —  Bologna,  Madonna  di   S.  Luca. 


longer  arms  nf  tlic  cross  are  semicircular.     The  second  stor}^,  separated  from  the  first 

the  shorter  sciiii-clli]itical.     From  the  ca^-t-     1)V  a  decorated  .'^tring-course,  lias  two  elah- 

oratc  jiointed  and  tracericd  win- 
dows divided  by  twisted  shafts, 
and  enclosed  in  broad  frames  of 
dec(ii';itc(l  niouhlings.  Between 
these  two  windows  is  Mn  octagonal 
balcony  or  ri iKjIiii'm  with  tract'i'- 
icd  panels,  covered  by  a  polygonal 
canopy  with  cnspcd  arches  under 
gables  anil  a  tiill  ei'ock<'teil  spire. 
'I  lie   fa(;ade   is   linishcil    bv   :i    rich 

oji     «rTT«rf3»— -"T-    „   ■vTjj&wt.-         ,     .    ,        _'-»»       ,'  i  coi'iiiee  with   (luati'cfoils  cnelosiiii;' 

(<i/%'^:,   r,^^^^^gjg5*>«iKl^^^^^fc;,    >^~:  ^^|i,||j|ljL,j^,«^^-     shields,     with     an     :irehed     eoi-bel- 

t;il>lc  bchiW  it  and  forked  liattle- 
nients.      (  Svr  Fiij.  .;.v. ) 

l'.\LAZZO  Bi;\  IL.U  1,11  A.  A  x\ 
(■cut.  Kenaissanue  jialace  of  which 
the  architect  is  not  known,  with  a 
long  and  ratlier  low  fayade  in  sto- 
ries of  l)old  rustic  stonework,  vari- 
ously treated  in  different  portions. 

ern  arm  opens  a  square  choir  ending  in  an     The  first  story  has  two  round-arched  door- 
apse.     At  the  west  end  of  the  church  an     ways,  one  with  an  order  of  decorated  pilas- 

ojjen  portico  descriljes  a  curious  reversed 

curve  and   terniinatcs    in    two   open    pen- 
tagonal   pa\ilions.  from   one   of   which   the 

arcaded    staircase  descends    to    the    town. 

The  exterior  view  sliows  the  high  elliptical 

wall  rising  out  of  the   niiilst   of  a   sipuire 

mass  of  sni-ronnding  huildings,  with  alow 

roof   and    the   doine    in    the    niiihlle.      'I'lie 

a|)sidal   choir  projects  fi'om  the  cast  CMid, 

flanked  liy  a  low  .squart^  tower,     i^t^ve  F'ujx. 

36,  37.)  " 

La  .MiCHfAXzrA    (Hxchange).     A  small 

building    of     bi-iek    .-mil    leri'a-c<itta     built 

ab(jut   b.Mll  :is  an   exchange  anil   called   the 

l''oro    dei     .Mei'eanti.       The    charactci'istic 

])ai-t    is   an    addition    (d'     i:!s;    and    1  i:!!), 

analogous   to  the  bi'oletti  of  Xortli  Italv. 

It  consists  of  two  stories,  tiie  first  an  open 

loggia,   groined,    with    two    high     poinleil 

arches  carrying  the  upper  wall,  and  two  on 

the   .sides   of    the    ]ogi,da,   sjiringing   fr<Jin 

groujiCMl     piers     with     large     foliage    caps, 

decorated   archivolts.   the   spandrels   orna-     ters  and  semicircular  pediment,  the  whole 

mented  with  roundels  con tainingscidpt lire,     enriched  with  delicate  bas-reliefs,  and  small 


ilogna, 
Scjie  of   100  feet. 


BOLO(iXA 


windows  \vitli  flat  caps.  The  second-story 
lias  a  range  of  round-arched  two-light  win- 
dows under  enclosing  arclies,  and  separated 
by  columns.  An  enriched  entablature  runs 
across  the  wliole  front  in  each  story,  and 
tlie  upper  cornice  projects  boldly  on  brack- 
ets. Tile  fine  interior  court  has  two  stories 
of  vaulted  roniiil-arched  arcades  with  Com- 
posite riihinins  and  entablatures,  the  up- 
per arches  being  twice  as  many  as  those 
licliiw.       In    tills    palace    met    the    Italian 


umns,  the  upper  arches  one  half  tlie  width 
of  those  below.  The  palace  dates  presum- 
ably from  the  xv  cent.,  and  is  filled  with 
frescoes  by  the  Caracci.     (See  Fig.  JfO-) 

Palazzo  Isolaxi.  An  early  Renais- 
sance palace,  jiroljably  of  the  xv  cent, 
with  a  low  fa(;adc  in  two  stories,  the  first  a 
round  arcade  with  six  arches  on  Corinthian 
columns,  the  second  of  six  pointed  arclied 
windows,  with  fluted  Corinthian  jjilasters 
and  decorated  archivolts.  the  arch-head  di- 


Fig.  38. — Bologna.   La  Mercanzia. 


members  of  the  Council  of  Tivnt  iu  1.347, 
after  their  schismatic  adjournment  to  Bo- 
logna, as  appears  from  an  inscription  in 
one  of  the  rooms.      (See  Fi;/.  -I'-i.) 

Palazzo  Fava.  A  fine  example  of  the 
brick  and  terra-cotta  architecture  of  Xorth 
Italy,  with  a  fayade  of  three  stories — the 
first  a  high  vaulted  arcade  of  round  arches 
springing  from  srpiare  piers  witli  engaged 
columns  on  each  side.  Tlie  second  story 
has  a  range  of  two  -  light  windows  with 
broad  ijilasters  and  round  liearing  arcli :  a 
very  heavy  and  over -ornamented  cornic- 
cione  crowns  the  facade.  On  the  sides  of 
the  interior  court  are  two  stories  of  round- 
arched  vaulted  arcades  on  comjjosite  col- 


vidi'd  into  two  delicate  ogee  ai'elics  with 
minute  cusping,  and  with  a  roundel  be- 
tween, enclosing  a  head  in  high  relief, 
'i'he  front  is  finished  by  a  rich  terra-cotta 
cornice  witli  small  deep  arches  on  corliels, 
each  enclosing  a  liead. 

Palazzo  del  Podesta.  The  old  jjalace 
of  the  magistrates  dates  from  the  early 
])art  of  the  xiii  cent.,  but  its  present 
fa(;ade  was  built  as  late  as  148.3.  It  is  in 
two  stories,  the  first  an  open  arcade  of 
round  arches.  s])ringing  from  square  rustic 
piers,  faced  with  an  order  of  engaged  Co- 
rinthian colunnis,  the  second  an  order  of 
flat  Corinthian  pilasters,  and  arched  win- 
dows between,   witli  jjilasters  and  monld- 


I'.OLOGXA 


i 

Fig.  39.— Bologna    Pal    Bevilacqua 

C(l  ai'cliiviilts.  'I'licrc  i.s  ;i  low  attii.-  witli 
rouiiil  windows.  The  plain  square  me- 
dianal  tower  rises  out  of  the  roof,  ending 
in  a  helfry  with  three-light  and  four-light 
windows  in  the  faces,  under  a  bearing 
arch,  and  crowned  by  square  battlements. 
The  interior  has  a  great  hall,  75  ft.  wide 
and  Kii  ft.  long,  of  which  the  original 
character  has  wholly  disaiiiieared  under 
successive  changes.  The  palace  was  for 
twenty  years  the  prison  of  Ilcnsius,  king 
of  Sardinia  and  natural  son  of  the  em- 
peror Frederic  II.,  from  whom  the  great 
hall  is  still  called  the  '•  Sala  del  Re  Enzio." 
S.  FiivxcEsco.  a  brick  church,  one  of 
the  largest  of  Bologna,  and  originally  one 
of  the  finest,  dating  probably  from  the 
early  part  of  the  xiv  cent.,  but  in  i;08 
occupied  as  a  Ciistoiii-housc.  and  now 
much  decayed  and  neglected.  Its  west 
front  has  been  greatly  changed,  but  retains 
its  original  doorway  and  the  canopy  over 
it.  The  east  end  has  aisles  and  exterior 
chapels  after  the  northern  fashion,  and  the 
thrust  of  the  choir  vaidt  is  met  by  great 
flying-buttresses  of  rather  awkward  form. 
Two  campanili  stand  ur.ir  together  on 
the  south  of  the  choir,  of  which  the  larger, 
dating  from  tlu'  XIII  cent.,  has  some  gootl 
Gothic    features,   anioni:   oiIhts   a    liclfrv- 


stage  witli  three-light  windows  with  twisted 
shafts  for  mullions  and  traceried  heads. 
The  interior  has  a  fine  nave  and  aisles  in 
seven  bays,  separated  by  pointed  arches 
resting  on.  octagonal  columns,  all  in  brick. 
The  transept  has  been  restored  in  the  style 
of  the  original. 

S.  (;iA<'O.MO  M.ui(;ioi;i:.  A  Gotliic  Mil 
cent,  church  of  brick,  much  modernized 
in  recent  times.  Its  facade  is  substan- 
tially unchanged  and  presents  a  single 
broad  gable  divided  by  pilasters  into  three 
divisions,  the  central  one  of  which  con- 
tains a  doorway  flanked  by  columns  of  red 
niarlilc  resting  on  lions  and  supporting  a 
canojiy.  Above  the  doorway  an  ugly 
squari'  window  has  rejjlaced  the  original 
rose.  In  each  side  division  is  a  elosed-up 
window,  <livided  by  a  shaft  and  with  .some 
good  plate-trai-ery  in  the  head.     The  cor- 


Fig.  40.— Bologna,  Pal.  Fava,  Couit. 


B()L()(iXA 


nices  are  mostly  of  brick  with  portions  in 
glazed  terra-cotta.  blue  and  j'reen.  The 
east  end  has  a  pol\'goual  apse,  each  face 
containing  a  large  window  with  steep  gable 
over  it  flanked  by  pinnacles.  To  the  S.E. 
of  the  nave  stands  a  higli  (iothic  eainiui- 
nile  of  red  brick,  in  stories  of  equal 
Jieight,  with  unfinished  Kenaissance  bel- 
fry. The  interior  is  quite  modernized, 
but  with  line  effect.  Three  large  dome- 
vaulted  bays  are  separated  by  piers  faced 
with  Composite  pilasters,  carrying  Idocks 
of  a  rudimentary  entablature  which  bear 
the  great  arches.  These  arches  are  HUc  1 . 
eacii  with  a  screen  of  three  sub-arclu-. 
borne  on  slight  piers,  and  serving  as  the 
entrances  to  side-chapels,  'i'he  transept 
is  oidy  simulated,  and  a  dome  covers  the 
crossing.  The  choir  terminates  in  a  po- 
Ivgonal  apse,  and  is  surrounded  by  an 
ambulatory  with  a  circle  <jf  ciuipels.  The 
church  was  founded  in  VHu,  and  en- 
larged in  14'.)^.  but  was  never  finished. 
The  campanile  dates  from  Vi','i. 

S.  Petuoxio.  This  church,  onr  (jf 
the  largest  (Jothic  buildings  in  Italy,  is 
yet  but  a  fragment  of  what  it  was  meant 
to  be.  The  original  design  coiitem[)lated 
a  cruciform  church  some  7-")(»  ft.  long 
and  .■)()()  ft.  across  the  transept,  covering 
an  area  nearly  as  large  as  tliat  of  St.  Pe- 
ter's at  Rome,  and  surmounted  by  a  (h)iue 
130  ft.  in  diameter.  The  project  was  too 
vast  for  execution,  and  tiie  existing  church 
represents  tlie  nave  only  of  tiiis  stupendous 
cathedral.  Even  in  its  fragmentary  state  it 
is,  however,  extremely  imposing.  Its  ex- 
terior is  unfinished.  The  great  facade 
presents  an  immense  surface  of  bald  rough 
brickwork,  only  the  doorways  being  com- 
pleted. These  are  rather  elaborate  com- 
positions, much  decorated  with  sculpture. 
The  flanks  of  the  church  are  better,  siu)w- 
ing  a  noble  high  basement,  above  which 
are  fine,  broad,  lofty  four-light  windows 
with  traceried  heads  and  giddes  separated 
by  square  buttresses.  Within  it  is  a  five- 
aisled  church  of  six  bavs.  the  outer  aisles 


being  divided  into  chapels,  two  to  each 
bay,  as  in  the  Certosa  at  Pavia.  The  nave 
piers  are  like  those  of  the  cathedral  of 
Florence — grouped,  very  low  in  proportion 
to  the  height  of  the  nave,  with  high  caps, 
and     carrying     extremely     high     ]iointed 


Fig.  41. — Boiogna,  S   Petronio. 

arches,  above  which  in  the  clerestory  are 
small  round  windows,  cu.sped,  but  with- 
out tracery.  Those  members  of  the  nave- 
piers  which  front  the  nave  are  carried  up 
as  vaulting-shafts  to  the  spring  of  the 
groined  vault,  which  is  high  and  simple. 
The  aisles  are  lighted  by  circular  windows 
in  a  low  clerestory  like  those  of  the  nave  ; 
but  the  outer  walls  of  the  chapels  are 
pierced  with  the  large  and  beautiful  win- 
dows above  mentioned.  The  scale  of  the 
interior  is  prodigious,  and  was  evidently 
determined  upon  the  same  theory  which 
governed  the  design  of  the  cathedral  at 
Florence,  and  which  has  destroyed  the  ef- 
fect of  that  church,  the  theory  that  gran- 
deur is  obtained  liv  merelv  increasing  the 


63 


B(»L(h;XA 


size  ol'  all  tin'  j)arts  (if  a  design  withcmt 
inultijjlying  their  number.  The  bays  of 
the  nave  of  S.  Petri)nio  are  rather  more 
than  (io  ft.  s(|iiare.  The  nave,  with  only 
six  bays,  is  therefore  abont  o'ln  ft.  long, 
while  the  breacltii  of  nave  and  aisles  is 
about  ISO  ft.,  and  the  erown  of  the  nave 
vault  is  nearly  l.")(l  ft.  al)ove  the  floor. 
Jlany  famous  names  are  associated  with 
the  history  of  tliis  remarkable  church. 
xVndrea  Manfredi  was  summoned  from 
Florence  in  i:iS'^,  and  made  the  tirst  de- 
sign. In  lii'.io.  a  model  at  one  twelfth 
full  size  W'us  built  from  the  plans  of  An- 
tonio Vincenzi.  jierhajis  the  largest  archi- 
tectural model  ever  nunle.  and  the  corner- 
stone was  laid  during  the  same  year,  in 
the  centre  of  the  crossing,  but  the  actual 
work  was  begun  at  the  west  end.  The 
work  was  suliject  to  frc(|uent  inter- 
ru2)tions  :  I'ei'uzzi.  (iiulio  Honumo,  ^'ig- 
nola,  and  I'alladio  were  successively 
brought  in  for  service  or  consultation, 
and  the  l)uilding  was  carried  on  until 
1G.5!).     (,sVr  /•'/V/.'.J/.) 

S8.  PiETKo  E  Paolu.     See  S.  Sti-fiiiio. 

S.  Sepolcku.     See  S.  Sfr/i'iin. 

S.  Stefaxo.  a  most  curious  and  in- 
teresting grouj)  of  ecclesiastical  buildings. 


Fig.  42.— Bologna.  S.  Sepolcro  (S.  Stefano). 

the  oldest  in  Bologna,  of  which  the  ar- 
rangement can  best  be  understood  from 
the  plan.     They  were  built  at  widely  dif- 


ferent periods,  as  is  evident  not  only  from 
the  style  but  also  from  the  varying  levels 
of  the  floors.  The  dimensions  are  nowhere 
large,  the  whole  groujj  measuring  about 
•^.io  ft.  from  east  to  west  and  175  ft.  from 
north  to  south.  In  the  centre  is  the  Corte 
di  Pilato,  so  called,  an  open  court  or  atrium 
with  an  open  vaulted  arcade  on  two  sides, 
of  [ilaiii  i-ound  arches  cai'ricd  on  grouped 
columns  quatrefoil  in  plan,  with  simjile 
lilock  capitals.  In  the  court  stands  an 
aui-icnt  fr)nt  consecrated  to  the  Lombard 
Kings  Luiti^rand  and  Hildel)rand,  the 
former  of  whom  died  in  ',44.  It  has  an 
interesting  inscription.  From  the  east 
end  of  this  court  opens  the  church  of  Sta. 
Trinita.  of  which  the  easterly  juii-t  is  per- 
haj)s  the  oldest  portion  of  the  whole  grouj), 
and  from  the  west  end  the  octagonal 
church  or  baptistery  of  S.  Sepolcro,  so 
named  from  the  tomb  of  S.  Petronio  which 
was  built  within  it  in  the  Ml  cent,  in  imi- 
tation of  the  Holy  Sepulchre  at  -lerusalem. 
The  faces  of  the  octagon  toward  the  court 
ai'c  unbroken  e.\ce})t  l>y  a  si)nj)le  doorway 
in  eai-li  face,  and  some  small  windows  high 
up  in  till'  walls,  but  the  walls  are  cov- 
ered with  a  mosaic  of  lirick  and  stone  of  <i 
great  variety  of  patterns.  The  interior  of 
this  l)uilding,  which  is  as  a  whole  the  old- 
est of  all  these  churches,  is  very  singular. 
{Sff  Fiji.  Jf.!.)  The  central  ])ortion  is 
I welve-sided.  and  the  piers  cai'rying  the 
clci'estory  wall  are  partly  large  round  piers 
with  am-ient  caj)itals  rude  in  design  and 
execution,  and  partly  slender  coupled  col- 
umns. They  carry  sim]ile  round  arches. 
.■ibove  which  is  the  high  clerestol'v  wall 
with  three-fpnirter  shafts  in  the  angles, 
resting  on  plain  corbels  and  terminating  in 
a  cornice  of  intersecting  arches.  The  sur- 
rounding aisle  or  arabnlatory  is  irregular  in 
shape  and  vaulted  in  compartments  alter- 
nately square  and  triangular,  somewhat 
sutfu'estiuir  the  Kotonda  at  Brescia  and  the 
Miinster  at  Aix  la  Chapelle,  The  columns 
at  the  angles  are  varied,  mostly  with  eajii- 
tals    of    more    or   less    classic    character. 


64 


BOLOGNA 


South  of  tlie  jitrinm  is  a  cloister  of  two 
stories  :  the  rude  first  story  lias  low  round 
arches  supported  partly  by  massive  round 
shafts,  and  partly  by  slender  grouped 
shafts  set  in  a  square  and  covered,  like  the 
larger  columns,  by  a  jilain  slab.  The  plain 
i)rick  wall  above  the  arches  bears  a  later 
iircade  of  round  arches  on  columns  cou- 
])led  in  depth,  with  capitals  of  various  and 
often  grotesque  design.  The  spandrels 
and  the  wall  ab()ve  are  faced  with  a  pattern 
of  colored  bricks.  The  wall  is  finished 
with  a  corbelled  cornice.  Adjoining  the 
cloister  on  the  west  are  two  churches,  one 
above  another,  of  wliich  the  lower,  called 
the  Confessione,  is  presumed  to  date  from 
the  XI  century.  Its  floor  is  below  the  level 
of  the  surrounding  buildings,  and  the 
church,  which  was  built  above  it  in  the 
XVI  cent.,  is  now  connected  with  the  older 
church  of  S.  Giovanni  west  of  it,  to  which 
it  serves  as  a  choir,  its  floor  being  reached 
by  a  broad  ascending  staircase.  North  of 
the  baptistery  and  of  the  atrium  is  the 
church  of  SS.  Pietro  e  Paolo,  one  of  the 
oldest  portions  of  the  group,  a  distinctly 
Romanesque  liuilding  with  short  nave  and 
side  aisles,  three  eastern  apses,  and  a  higli 
clerestory.  These  divisions  are  plainly 
expressed  by  the  front,  which  has  how- 
ever been  recently  restored.  The  project- 
ing central  porch  is  in  two  stages,  first 
a  round  arch  sjiringing  from  square  en- 
gaged piers  with  Byzantine  capitals,  and 
above  it  a  shelf  or  balcony,  bearing  a  sit- 
ting statue  under  a  round  arch  on  col- 
umns, with  a  high  gable,  and  half  gables 
on  either  side.  The  clerestory  walls  are 
divided  by  pilaster-strips  against  which 
are  built  strong  triangular  buttresses,  with 
single  round-headed  windows  between. 
The  front  of  the  baptistery  has  also  been 
restored,  but  the  original  character  is  well 
preserved.  The  octagonal  wall  of  the 
ambulatory  is  in  two  stories,  with  three 
round  arches  on  each  face  below,  and  the 
second  story  plain,  with  angle-shafts  run- 
ning up  to  an  arcaded  eaves-cornice.     In 


tJie  middle  face  is  a  plain  round-arched 
door.  Above  rises  the  plain  clerestory 
wall  with  a  diagonal  pattern  in  brick,  an 


Fig.  43. — Bologna,  S.  Stefano,  Plan. 
Scale  of  50  feet. 

arched  corbel-table  under  the  eaves,  and 
a  low  polygonal  roof.  The  church  of 
S.  (iiovanni,  called  also  II  C'rocefisso, 
whicli  lies  to  the  right  of  the  baptistery 
and  i^rojects  w'estward  into  the  square, 
is  nuich  dilapidated.  It  has  an  unbroken 
gable  covering  the  whole  front,  a  low 
pointed  central  doorway  and  a  row  of  sin- 
gle pointed  arched  windows  above.  On 
the  northern  corner  of  the  front  is  a  cir- 
cular pulpit  sujiported  on  bold  corbels. 
Behind  this  church  rises  the  high  rude 
gable  of  the  modern  choir  already  men- 
tioned, and  at  the  south  side  a  plain 
square  brick  campanile  with  two -light 
openings  in  the  belfry  and  a  flat  roof. 
The  history  of  tliis  curious  group  of  build- 
ings is  obscure.  The  earliest  portions, 
now  comprised  within  the  church  of  Sta. 
Trinita,  are  believed  to  have  been  built  on 
tlie  site  and  perhaps  from  materials  of  a 
Roman  temple  of  Isis.  as  early  as  the  end 
of  the  IV  century.  The  baptistery,  per- 
haps first  built  in  the  iii  cent.,  was 
destroyed   and   rebuilt   about   540.      The 


BORGO 


churches  of  Sta.  Triiiitii.  SS.  Pietro  e 
Paolo,  iuul  S.  (iiovaiini  probably  flate  from 
al)out  Tr)().  Various  rostoratioiis  took  jilace 
early  in  the  xi  cent.,  and  a  century  later 
the  buildings  came  into  the  hands  of  the 
Benedictines,  by  whom  the  arcades  of  the 
upjier  cloister  were  built.     (Sec  Fij.  J/-!.) 

Sta.  TiiiNiT.l.     See  S.  S/cfann. 

The  Uxiv'ERSiTY  occupies,  with  the  Mu- 
seum of  Natural  History,  a  Renaissance 
palace  built  by  Cardinal  Poggi  about  1570, 
from  the  designs  of  Pellegrino  Tibaldi,  sur- 
rounding three  sides  of  a  square  court,  of 
which  the  architecture,  designed  by  Bar- 
tolommoo  Triaechini,  consists  of  two  stor- 
ies of  coupled  Doric  and  Ionic  pilasters  on 
high  pedestals,  sujiporting  continuous  en- 
tablatures. On  three  sides  of  the  court  the 
intervals  enclose  blind  arches,  and  windows 
with  pedimented  caps;  on  the  side  toward 
the  entrance  are  broad  open  arches.  Hanked 
by  square  openmgs.  The  palace  was 
bought  by  the  Senate  of  Bologna  in  171 4 
for  the  purposes  of  the  University;  several 
of  its  halls  are  decorated  with  frescoes  by 
Tibaldi  and  Niccolo  Abbate. 
BORGO  S.  DOXINO,  near  Parma.  Italy. 

The  Cathedral  is  an  old  church  whose 
present  form  dates  from  the  end  of  the  xi 
century.  The  low  broad  front,  of  which 
only  the  lower  story  is  finished,  contains 
three  deeply  recessed  and  richly  sculi)turcd 
portals,  with  detached  columns  staiuling 
on  griffins  or  lions.  Above  is  a  blank  wall 
Hanked  by  two  insignificant  corner  towers. 
Tlie  interior  is  of  fine  l)old  Lombard  design 
with  double  hays,  grouped  piers,  and  cush- 
ion capitals,  and  early  pointed  vaults.  The 
triforium  has  quadruple  arcades  under  en- 
closing arches,  and  the  clerestory  windows 
arc  c<iu|)h'd. 
l'>()Zli.V  (aiic.  Bostra),  llauran.  Syria. 

The  Cathedral  resembles  in  plan  that 
of  Ezra,  but  is  on  twice  the  scale,  and  is 
ruined.  It  is  a  circle  of  120  ft.  diameter, 
in.scribed  in  a  square  of  125  ft.,  the  corners 
being  filled  by  semicircular  niches,  and  a 
choir  with  a  round  apse  projecting  from 


tlie  east  side  flanked  l)y  two  sacristies,  and 
these  again  l)y  two  small  clnqtels  with  ap.ses 
— an  arrangement  unparalleled  in  Syria. 
The  circle  shows  above  the  square  in  a 
round  drum  j)ierced  with  windows.  Prob- 
ably there  was  an  inner  circle  of  arcaded 
jiiers  carrying  an  inner  drum  sui'inounted 
by  a  dome,  but  they  have  disappeared,  and 
a  small  basilica  has  been  built  inside  the 
large  church,  continuing  the  lines  of  its 
choir.  The  walls  are  pierced  with  a  great 
number  of  round-arched  doors  with  tran- 
soms, and  windows.  An  inscrii)tion  gives 
the  date  512  a.d. 

Roman  Buildixg,  of  rectangular  plan, 
on  the  main  street.  It  has  a  portico  of 
two  ranges  of  columns,  the  white  marble 
bases  of  which  remain  in  sifii,  and  three 
tiers  of  niches  in  the  wall.  The  execution 
and  ornament  are  good.  It  is  uncertain 
whether  it  was  a  temple  or  a  porch. 

RoMAX  Walls,  surviving  on  the  west 
and  south  sides.  The  city  was  rectangular 
in  plan,  except  that  the  N.W.  and  ]S'.K. 
corners  were  cut  off.  The  west  gate  is 
well  preserved,  displaying  two  arches,  one 
over  the  other,  and  near  the  gate  shell- 
shaped  niches  in  the  wall  protected  by 
ti-iangular  roof-canopies.  The  wall  is 
strengthened  by  many  square  towers. 

The  town  was  traversed  by  colonnaded 
.streets,  like  many  others  in  Syria.  There 
are  abundant  remains  of  ancient  buildings, 
exploration  of  which  might  lead  to  iden- 
tification, some  good  Roman  arches,  and 
particularly  four  excellent  Corinthian  col- 
innns.  about  47  ft.  high,  which  belonged 
to  some  public  building.  There  are  also 
baths  with  extensive  vaulted  constructions. 

Thkatrk,  south  of  the  town  and  fac- 
ing north,  over  whieli  is  built  a  massive 
^Vrabian  castle  with  many  s(iuare  towers. 
Six  tiers  of  the  seats  of  the  theatre  ai'e  vis- 
ible in  the  court  of  the  castle.  Its  diam- 
eter is  about  250  ft.  Fliglits  of  steps 
lead  up  from  outside  the  auditorium  to 
the  preeinction  or  horizontal  gallery,  and 
there  are  arched  passages  in  the  substruc- 


(se 


miANCIIID.E 


tioiis  oommunioatiiig  witli  vomitoriu.  A 
gallery  witli  Doric  columns,  of  which  some 
still  stand,  surrounded  the  auditorium 
above.  The  stage  is  about  25  ft.  deej), 
and  has  a  wall  about  100  ft.  long  in  two 
stories  with  decorative  niches,  and  behind 
it  several  rooms. 

TuirMPiiAL  Arch,  of  three  openings, 
the  middle  one  about  41  ft.  high,  besides 
a  traiisverse  ar(>h.  It  has  pilasters,  one  of 
which  bears  a  Latin  inscription.  It  stands 
on  a  pedestal  -11  ft.  by  20  ft. 
BRAXCHID^E  (Didyma),  Asia  Minor. 

Temple  of  Apollo  Didymaios,  a  very 
ancient  foundation  which  was  restored  af- 
ter the  Persian  wars  and  rebuilt  at  a  late 
time  by  the  Milesians  on  so  enormous  a 
scale  that  it  was  never  finished.  Two  Ionic 
columns  with  their  architraves,  and  one 
apart  with  shaft  not  yet  fluted,  are  still 
standing.  The  height  of  the  columns  is 
63  ft.,  their  diameter  at  the  base.  6  ft.  6  in. 
The  temple  is  described  as  decast3'le,  dip- 
teral, with  four  columns  between  antfe  in 
the  pronaos,  and  twenty-one  columns  ou 
the  flanks.  Its  dimensions  were  168  ft. 
by  .302  ft.  The  material  is  white  marble 
with  bluish  markings.  A  Sacred  Way  led 
from  the  sea  to  the  temj)le.  bordered  on 
either  side  with  archaic  seated  statues,  the 
figure  and  the  chair  being  carved  from  a 
single  block. 
BKESCIA,  Italy. 

The  BuoLETTO  is  probably  the  largest 
of  the  medieval  town-halls  of  North  Italy. 
It  is  an  immense  pile  of  buildings  with 
three  fronts  of  irregular  mixed  design, 
enclosing  a  large  quadrangle,  on  two  sides 
of  which  are  vaulted  cloisters  with  simple 
pointed  arches,  carried  on  plain  square 
piers.  The  external  walls  show  for  the 
most  part  three  stories  of  windows,  square, 
round-headed,  and  pointed,  but  are  of 
various  heights,  and  evidently  of  various 
dates.  A  tall  rude  bell-tower  rises  near 
one  of  the  angles,  with  four  pointed  arches 
in  the  belfry,  and  crowned  with  forked 
battlements.     The   chief   interest   of   this 


great  building  lies  in  its  beautiful  detail, 
executed  for  the  most  part  in  moulded 
brick.  Some  of  the  windows  and  cornices 
are  of  great  elaborateness  and  elegance. 
Mothes  gives  1187  as  the  date  of  the  com- 
mencement of  the  building,  which  was, 
however,  frequently  interru^jted  by  donies- 
tic  disturbances  and  by  foreign  wars,  so 
that  it  cannot  be  supposed  to  have  been 
finished  before  the  second  half  of  the  xiii 
century.  It  has  been  much  altered,  and 
now  contains  the  Courts  of  Justice.  The 
tower  was  begun  in  1213. 

The  New  Cathedral  (Duomo  Xuo- 
vo),  S.  Pietro,  begun  in  1609  by  (iiov. 
Batt.  Lantana,  is  one  of  the  most  success- 
ful churches  of  its  time.  In  jilan  it  is  a 
Greek  cross,  with  the  eastern  arm  length- 
ened into  a  deep  choir,  ending  in  an  apse. 
The  arms  of  the  cross  are  barrel-vaulted, 
the  re-entrant  angles  filled  out  to  a  square 
by  chapels  with  low  interior  domes,  and 
the  crossing  covered  by  a  noble  central 
dome,  2T0  ft.  high.  A  single  Corinthian 
order  lines  the  interior,  and  the  great 
piers  under  the  dome  are  so  grouped,  of  sal- 
ient pilasters  and  detached  columns  under 
the  main  arches,  as  to  give  great  animation 
and  buoyancy  to  the  design.  The  fa(;ade, 
added  later,  is  inferior.  The  dome  itself, 
designed  by  Mazzoli,  was  not  finished  till 
1S2.5. 

The  Old  Cathedral  (Duomo  Vec- 
cliio),  also  called  La  Rotonda,  a  remark- 
able and  very  ancient  circular  church  of 
brick,  adjoining  the  transept  of  the  new 
cathedral  of  S.  Pietro.  Its  exterior,  ex- 
tremely simple,  presents  a  low  circular 
aisle,  the  floor  some  ten  or  eleven  feet  be- 
low the  level  of  the  street,  with  a  low'  roof, 
above  which  rises  the  high  clerestory  wall, 
or  tambour,  with  five  rude,  round-headed 
windows,  doubtless  modern,  near  the  aisle 
roof,  and  above  them  a  series  of  thin,  flat 
pilasters,  dividing  the  wall  into  panels  and 
ending  in  an  arcaded  cornice.  In  the  jjauels 
just  under  the  cornice  is  a  series  of  round- 
arched  blind  windows.     The   roof-surface 


BIJESCIA 


is  of  low  pitch,  and  is  covered  with  tiles 
which  lie  directly  on  the  dome  beneath. 
The  interior  is  not  less  simple.  The  cen- 
tral hall  or  nave  has  a  diameter  of  about 
G2  ft.,  and  is  surrounded  by  tlie  aisle, 
which  is  18  ft.  wide.  Tliey  are  separated 
by  a  circle  of  eight  massive  ])iers  about 
6  ft.  sfjuare  witliout  base  or  capital,  carry- 
ing round  arclies,  above  which  rises  the 
clerestory  wall  without  string  or  cornice, 
supporting  tlie  hemispherical  dome,  of 
which  the  crown  is  about  80  ft.  above  the 
floor,  with  no  lantern  or  other  feature. 
The  floor  of  the  surrounding  aisle  is  raised 
by  foui-  stejjs  above  that  of  the  central  por- 
tidu.  Tlie  vaulting  of  the  aisle  is  pecul- 
iar, in  compartments  alternately  rectangu- 
lar and  triangular,  sei^irated  by  two  round 
arches  carried  across  the  aisle  from  each 
pier,  the  rectangular  compartments  being 
groined.  Over  tiie  entrance  doorway  was 
a  square  tower,  which  fell  in  1708  and  was 
not  rebuilt.  The  whole  construction  is 
very  massive,  the  w-alls  of  the  aisle  and  the 
clerestory  being  about  (>  ft.  thick.  In  the 
axis  of  the  church  beyond  the  wall  of  the 
aisle,  opposite  the  entrance  and  about  l-'J 
ft.  below  its  floor,  is  the  cruciform  cryj)t 
of  San  Filastro,  with  three  aisles  about  33 
ft.  long,  of  four  bays  each,  terminating  in 
apses,  and  divided  by  marble  columns 
with  carved  capitals  of  various  design, 
some  of  tlieni  strongly  Byzantine  in  char- 
acter. The  columns  carry  round  arches 
and  tlie  bays  are  covered  with  simple  four- 
part  vaulting.  The  history  of  this  build- 
insr  is  obscure.  It  has  been  ascribed  to 
Queen  Theodolinda.  Some  authorities 
have  seen  in  it  tlie  basilica  built  by  fount 
Raimondo  at  the  end  of  the  viii  cent., 
the  latest,  Cattanco.  believes  it  to  be  later 
than  the  year  1000.  Tlie  old  1)asilica  of 
St.  Peter,  occupying  a  site  adjacent  to  tlie 
Rotonda  on  the  east,  was  burned  about 
800 ;  and  the  Rotonda  was  afterward 
made  to  serve  for  the  Cathedral.  The 
basilica  was  repaired,  and  the  two  cathe- 
drals were  maintained  cm  an  ecjual  footing 


side  by  side,  one  serving  for  use  in  winter, 
the  other  in  summer.  Portions  of  the  old 
basilica  still  exist,  incori^orated  with  the 
presbytery  and  choir  which  were  added  to 
the  Rotonda  in  the  xiii  and  xv  centuries. 

Palazzo  della  LoiifiiA,  or  del  JIl- 
xicii'io  (Town  Hall).  This  beautiful 
example  of  the  best  age  of  the  Italian 
Renaissance,  begun  in  1")08  by  Formen- 
tone,  was  carried  out  by  him  as  far  as  the 
floor  of  the  second  story  ;  it  then  jiassed 
into  the  hands  of  Sansovino,  and  was  com- 
jileted  about  l.")20  by  Palladio.  Its  facade 
is  extremely  simple  in  disposition,  large  in 
scale,  elegant  and  refined  in  detail.  It  is 
in  two  stories,  the  first  an  open  vaulted 
loggia  of  three  arches  nearly  20  ft.  broad, 
springing  from  pilasters  in  the  intervals  of 
an  order  of  engaged  Corinthian  columns 
crowned  by  a  very  light  balustrade.  Above 
is  an  order  of  flat  Corinthian  pilasters 
panelled  and  decorated  with  exf|uisite  bas- 
reliefs,  as  is  also  the  broad  frieze  of  the 
corniccione,  and  enclosing  single  square 
windows  with  fluted  Corinthian  pilasters 
and  entablature.  This  story  is  crowned 
by  a  high  thin  balustrade,  above  which  is  a 
modern  attic.  The  interior  was  originally 
fluislied  in  a  style  corresponding  with  the 
facade,  but  was  quite  destroyed  by  a  fire  in 
l.")7.T.  with  some  tine  jjictures  by  Titian. 

The  Rcman  Fokum.  Part  of  its  deco- 
ration survives  in  the  form  of  a  number 
of  Corinthian  columns,  and  some  jiarts  of 
a  Roman  theatre  are  visil)le  in  a  private 
house  near  the  Museum. 

Roman'  Temple,  now  serving  as  a  mu- 
seum of  anti(|uities.  It  was  excavated 
and  consolidated  in  1822.  It  is  Corin- 
thian, on  a  high  stereobate.  with  a  pictu- 
resque portico  of  twelve  columns  and  four 
l)iers  on  the  front.  There  are  three  shal- 
low cellas  side  by  side.  The  hexastyle 
middle  portion  of  the  portico  projects  be- 
fore the  central  cella,  while  before  each  of 
the  side  cellas  is  a  porch  of  two  columns  be- 
tween two  piers.  A  central  flight  of  steps 
desceiuls  between  square  projecting  piers 


BKIXDISI 


ill  front.  The  arrangement  of  tlie  temple 
is  pecnliar  in  that  the  portico  and  jjeili- 
ment  are  on  one  of  the  long  sides  of  the 
plan.  An  inscription  shows  that  the 
huilding  was  dedicated  l)y  the  Emperor 
Vespasian  in  T'-i  .v.  I).,  and  that  one  of  the 
cellas  was  sacre<l  to  llercnles.  'L'his  mu- 
senm  contains  the  celebrated  bronze  Vic- 
tory of  Brescia. 

La  RoTOXDA.     See  Old  ('(illinlrdl. 

S.  Francesco,  a  late  Komanesque 
church,  said  to  have  been  founded  in 
1210,  has  a  front  of  stone  with  cornices 
and  mouldings  of  brick  divided  into  three 
parts  by  flat  pilasters.  In  the  central 
division  is  a  good  round-arched  doorway 
with  deeply  splayed  jambs  and  engaged 
columns,  and  a  very  heavy  and  rich  hori- 
zontal cornice  of  brickwork.  Above  this 
is  a  fine  rose  window  with  voussoirs  of 
l)lack  and  white  marbh'.  A  single  low 
gable  with  an  elaborate  brick  cornice  cm- 
braces  the  whole  front.  A  campanile  rises 
from  the  south  side  of  the  choir  and  a 
large  and  lofty  sixteen-sided  lantern  from 
the  roof  of  one  of  the  chapels  on  the  north 
side.  The  remainder  of  the  exterior  and  the 
entire  interior  have  been  quite  modernized. 

Sta.  Giulia  is  a  little  Lombard  church 
standing  in  the  court-yard  of  the  monastery 
of  tlie  same  name,  and  dating  perhaps  from 
the  later  half  of  the  viii  century.  Its 
plan  and  disposition  are  jieculiar,  a  quadri- 
lateral measuring  roughly  3.5  ft.  square, 
over  which  is  set  an  octagonal  dome,  its 
alternate  sides  carried  on  s((uinchcs  cov- 
ered outside  by  triangular  roofs.  From 
the  east  side  of  the  church,  which  was 
perhaps  originally  either  a  baptistery  or  a 
mortuary  chapel,  open  three  equal  semi- 
circular apses.  The  walls  are  of  cut 
stone,  divided  by  pilaster  -  strips  which 
end  in  arched  corbel-tables,  and  pierced 
by  small  arched  windows.  The  dome  is 
masked  in  the  usual  Lombard  manner  by 
an  arcaded  eaves-gallery,  and  crowned  by 
an  arched  corbel  -  table,  and  a  low  octag- 
onal roof. 


Sta.  Marta  dei  Miracoli.  A  small 
Renaissance  church  of  the  xv  cent.,  re- 
markable chiefly  for  its  fa9ade,  attributed 
to  Giovanni  Padoni,  of  which  the  central 
2)art,  including  a  projecting  porch  of  four 
Corinthian  columns  on  jiedestals  with 
high  entablature  and  panelled  wall  or  attic 
above,  is  of  extraordinary  richness  and 
delicacy  of  decoration,  every  surface  being 
covered  with  marble  has  -  reliefs.  The 
plan  is  square,  with  fnui-  central  piers 
dividing  the  interior  into  nine  bays,  of 
which  the  central  one  is  covered  by  a  bar- 
rel vault,  and  the  four  adj.icent  bays  by 
domes  of  unequal  size.  A  square  choir 
terminating  in  an  apse  projects  eastward. 
BRIXDISI  (anc.  Brundusium),  Italy. 

The  Castle  is  a  square  fortress  with 
round  angle-towers,  surrounded  by  a  higli 
wall  with  square  angle-towers  and  a  heavy 
machicolated  cornice.  Its  original  date  is 
uncertain,  but  it  was  rebuilt  in  1223.  It 
was  converted  by  Murat  into  a  prison,  for 
which  it  still  serves,  but  is  now  much  ruined. 

The  (Jathedral,  dedicated  to  SS.  Maria 
and  Teodoro,  was  consecrated  by  Rope  Ur- 
ban II.  in  1(IS!I,  and  was  rebuilt  or  com- 
pleted by  King  Roger  between  1130  and 
1154,  and  decorated  with  mosaics  in  1178. 
It  was  damaged  by  an  eartiupiake  in  11.16 
and  destroyed  by  another  in  1743.  and  re- 
built in  the  style  of  the  period,  the  work 
being  completed  in  1740.  The  church  re- 
tains substantially  its  original  disposition, 
and  a  portion  of  the  old  mosaics  has  been 
brought  together  again  on  the  walls  of  the 
nave. 

S.  (iiovAxxi  Battista  (St.  John  the 
Baptist),  an  interesting  baptistery,  as- 
signed by  some  authorities  to  the  ix  cent., 
and  believed  by  some,  but  without  much 
probability,  to  have  been  built  by  the 
Knights  Templar.  It  is  a  circular  build- 
ing with  an  interior  ring  of  eight  anti<pie 
columns  supporting  round  arches  and  a  cir- 
cular wall  above.  This  ring  is  surrounded 
by  a  circular  aisle,  divided  by  transverse 
arches  into  irregularly  vaulted  bays,  and 


BRUNDUSIUM 


broken  eastward  h\  a  straight  exterior  wall, 
tangent  to  the  inner  circle,  and  from  whose 
centre  opens  out  of  the  inner  circle  a 
square,  groined  choir,  with  a  semicircular 
apse  pierced  by  three  small  windows.  The 
roof  of  the  building  is  much  ruined,  but 
traces  of  ancient  fresco  decoration  are  still 
visible  on  the  walls.  The  exterior  retains 
its  original  doorway,  a  mund  arch  with 
gable,  springing  from  two  marble  columns 
on  lions,  their  capitals  sculptured  with 
figures  of  birds  and  foliage. 

Two  lofty  unflutcd  late  Ivonian  col- 
nmns,  of  CijJollino  marble,  one  with  a 
highly  ornate  capital  bearing  figures  of 
gods,  still  standing,  on  the  point  of  the 
inner  harbor,  seem  to  have  served  to 
bear  lights  to  guide  vessels  into  the  port ; 
they  may  have  marked  the  termination  of 
the  Apj)ian  Wav. 
BliUXDlSlUM.  See  Brlndisi. 
BRUSSA  (Broussa,  Brusa),  Asia  Minor. 

Jami  Mosque  (Onion  Djami),  the  larg- 
est mosque  in  Brussa,  and  one  of  the 
oldest,  is  a  square  of  about  three  hundred 
feet  on  a  side,  divided  interiorly  into 
twenty-five  compartments  or  bays  sei)a- 
rated  by  jiiers,  each  bay  covered  by  a 
low  octagonal  dome,  except  the  nuddle 
line,  which  is  only  closed  against  the  en- 
trance of  birds  by  a  bronze  grille,  and 
serves  as  an  inner  court.  A  fountain  oc- 
cupies its  centre.  The  sanctuary,  once 
richly  decorated,  is  now  ]ilain.  and  dis- 
figured by  whitewash.  The  [lilhirs  were 
inscribcil  with  whole  chapters  of  the 
Koran  interlaced  with  arabesques,  and 
the  iiiimliiir  or  jiuljiit  was  the  work  of  a 
renowned  Arabian  sculptor,  'i'he  exterioi- 
is  very  simple,  the  walls  being  relieved 
only  by  great  pointed-arched  jianels  run- 
ning from  bottom  to  toj).  Of  the  three 
entrances  the  principal  one  on  tlic  front 
is  a  rich  specimen  of  Saracenic  stalactite 
work.  On  each  side  of  it  rises  a  slender 
minaret,  round  and  channelled  like  a  ecil- 
umn,  with  a  nuiezzin's  gallery  at  the  tup 
and    high-p(_)inted    rouf.      I'lcgun    by    .Mu- 


rad  I.  (1360-89)  it  was  continued  by  his 
son  Bayazid  and  finished  bv  ^lohammed  I. 
(1413-->1). 

The  MosQUK  of  Mohammkd  1..  the 
finest  in  Brussa,  resembles  in  style  the  ilo- 
hammedan  buildings  of  India.  It  lacks 
the  usual  court-yard,  however  :  a  flight 
of  marble  steps  leads  directly  to  the  main 
entrance.  The  sanctuary,  appi'oaehcd  by 
marble  steps,  consists  of  a  double  nave 
crowned  by  two  domes,  the  outer  walls 
being  faced  with  fine  marbles.  About 
the  doorway  is  inscribed  the  first  chap- 
ter of  the  Koran,  interlaced  with  foliage 
designs.  The  minaret,  like  the  domes, 
was  originally  covered  with  emerald  green 
tiles,  whence  the  mosque  was  popularly 
caWeA  ycchiJ  or  green  ;  but  the  tiles  have 
mostly  fallen.  Within,  the  walls  are 
faced  with  enamelled  faience.  The  milt- 
rab  or  prayer  luclie  is  of  red  marlde,  and 
there  is  a  fine  viimljur  or  pulj)it.  The 
mosque  was  fouiuled  by  .Moliammcd  I. 
whose  name  is  inscribed  on  it,  and  who 
reigned  from  1413  to  14--il. 

St.  Elias,  a  Byzantine  church  of  jjecul- 
iar  form,  built,  it  is  thought,  about  1250, 
— a  plain  brick  r(jtunda  42  ft.  across,  cov- 
ered by  a  dome  55  ft.  high.  Eight  half- 
round  niches  indent  the  wall  inside,  and 
similar  ones  correspond  to  them  outside ; 
between  those  inside  the  overhang  of  the 
wall  is  carried  on  pairs  of  marble  columns, 
and  the  thick  wall  is  offset  some  5  ft. 
on  the  outside  aliove  the  niches,  simulat- 
ing an  aisle.  'I'hc  rotunda  is  entered 
through  one  niche,  athwart  which  is 
built  a  great  oblong  narthex  in  three 
bays.  The  interior  is  lined  with  marble, 
but  the  fire  of  1804  destroyed  the  dome, 
which  was  rebuilt  and  stuccoed  over. 
After  the  Turks  oecupieil  Bru.ssa  in 
1326,  the  chui'ch  was  taken  as  a  mauso- 
leum for  Sultan  Orklian. 
BVZAXTirM.  See  roiis/,N//i/njplr. 
t'AKRE.  See  C'errclri. 
OAESAREA  (Kaiserieh),  Asia  Minor. 

Mosque  of  IIuen.     A  large  mosque  of 


CAIETA 


the  XIV  cent.,  uuii|ue  among  buildings  of 
its  kind  in  Asia  Minor.  It  has  the  usual 
division  into  fore -court  and  sanctuary, 
which  are  separated  by  a  screen  wall.  A 
wall  surrounds  the  whole,  buttressed  here 
and  there  with  round  turrets.  Its  peculi- 
arity is  that  the  court,  like  the  sanctuary, 
is  divided  into  small  bays  roofed  with  low 
domes,  only  a  small  open  atrium  being 
reserved  in  front  of  the  doorway  of  the 
sanctuary.  The  area  of  four  bays  in 
front  of  the  mihrab  or  prayer  niche  is  cov- 
ered by  a  larger  dome.  The  mosque  was 
built  by  Huen,  the  founder  of  an  order  of 
dervishes,  llis  tomb,  in  a  corner  of  the 
court  on  the  left  of  the  entrance,  is  octag- 
onal with  a  pyramidal  roof,  and  richly  or- 
namented, the  eight  faces  being  panelled 
with  pointed  arches  and  the  angles  rein- 
forced by  colouettes  supporting  a  cornice  of 
Arabic  honeycomb  work.  Attaclunl  to  the 
mosque  are  the  buildings  of  a  large  ine- 
dresHa  or  school. 
CAIETA.  See  Gaeta. 
CAXOSA  (anc.  Canusium).  Italy. 

The  Cathedral,  of  early  but  uncertain 
date,  dedicated  to  St.  Peter,  was  destroyed 
and  rebuilt  about  the  beginning  of  the 
XII  cent.,  and  dedicated  anew  to  St.  Sa- 
binus.  It  is  a  Latin  cross  about  130  ft. 
long  and  70  ft.  wide,  with  Ave  domes  of 
equal  size,  about  20  ft.  in  diameter,  cover- 
ing the  crossing  and  the  square  bays  of 
nave  and  -transept.  The  bays  are  sep- 
arated by  transverse  round  arches  spring- 
ing from  square  j^iers,  and  the  domes  are 
carried  on  sub-arches,  springing  from  slen- 
der columns  of  granite  and  verd-antique, 
with  bases  and  quasi-Corinthian  capitals 
of  white  marble.  The  square  bay  at 
the  crossing  forms  the  choir,  extended 
eastward  by  a  semicircular  apse.  The 
north  aisle  only  is  divided  into  bays. 
The  ancient  crypt  is  nearly  choked  with 
earth.  On  the  front  is  an  entrance 
porch  in  three  divisions  as  liroad  as  the 
nave,  surmounted  by  a  modern  tower. 
The    furniture   of    the   church    is   of    re- 


markable elegance.  The  high  altar  rests 
on  four  columns  of  green  anil  white  mar- 
ble ;  the  puljjit,  of  marble,  about  5|  ft. 
square,  is  one  of  the  most  beautiful  in 
southern  Italy.  It  is  supjiorted  on  high 
octagonal  columns  with  Byzantine  cajii- 
tals,  carrying  round  arches  and  richly  or- 
namented with  mosaic  and  carving  in  re- 
lief. The  bishop's  throne  is  of  marble, 
supported  on  two  figures  of  elephants,  and 
with  much  interesting  liyzantine  carving 
in  relief.  Both  the  pulpit  and  the  throne 
probably  belong  to  the  earlier  church.  On 
the  south  wall  of  the  transei)t  is  an  en- 
trance porch  of  two  round  arches  springing 
from  stout  columns  with  comi)osite  capitals 
witli  a  strong  horizontal  cornice  above. 
Outside  is  the  small  square  chapel  of  Bo- 
hemond,  the  Xorman  hero,  son  of  Eobert 
Guiscard — its  front  a  blind  arcade  of  four 
round  arches,  with  a  tine  bronze  door  of 
panels  enclosed  in  borders  of  graceful  ara- 
besque designs  in  niello.  The  chapel  is 
covered  by  a  pointed  dome  on  an  octagonal 
drum,  with  slender  angle -shafts  support- 
ing a  decorated  cornice. 

There  are  ancient  remains  of  consider- 
able extent  and  interest,  including  ])or- 
tions  of  the  city  walls,  an  amphitheatre, 
the  triumphal  arch  of  Terentius  Varro, 
ascribed  to  tlie  time  of  Trajan,  an  aque- 
duct, and  an  important  necroiwlis  of  rock- 
tombs,  which  has  yielded  quantities  of 
gold  jewelry,  small  bronzes,  and  jjainted 
vases  of  unusuallv  large  size. 
CAPRAROLA,  Italy^ 

The  Castle,  built  in  the  xvi  cent, 
from  the  designs  of  Vignola  for  the  car- 
dinal Alexander  Farnese.  is  perhaps  his 
most  celebrated  work.  Its  plan  is  a  reg- 
ular pentagon  measuring  about  L'iO  ft.  on 
each  side,  and  enclosing  a  circular  court 
65  ft.  in  diameter,  with  an  arcade  of  round 
arches  on  coupled  columns.  The  castle 
sits  on  a  high  terrace,  whose  outline  is 
parallel  with  its  walls,  and  to  which  the 
approach  is  by  two  stately  double  stair- 
cases on   the  entrance  front,  with  an  ad- 


CAPRI 


vanced  aroadefl  pnrrli  or  loggia.  Above 
this  is  the  terrace  wall.  (;f  plaiu  stone  ma- 
sonry, with  square  peiliniented  windows, 
the  angles  marked  bv  jirojecting  bastions. 


Fig  44, -Caprarola.  Castle.  Scale  of  100  feet. 

Above  tlie  tcrraee  rises  the  mass  of  the 
castle  itself,  in  two  stages,  each  abont  30 
ft.  high,  witli  an  order  of  pilasters,  Ionic 
in  the  lower  stage,  Corinthian  in  the  nj)- 
per.  tJie  former  enclosing  round  arches 
and  high  pedimented  windows,  and  the 
uppei'.  two  stories  of  square  windows. 
{tSee  Fi(/.  44-) 
CAPRI,  Italy. 

The  Old  Cathedral,  dedicated  to  Sta. 
Costanza,  is  believed  to  have  been  founded 
as  early  as  the  vii  cent.,  but  lias  been  much 
changed  and  enlarged  in  later  davs.  It  is 
now  a  rectangle  about  'Mi  ft.  wide  and  70 
ft.  long,  equally  divided  between  the  old 
and  new  portions.  The  former  is  divided 
by  tw^o  ranges  of  four  round  arches  each 
into  three  aisles  of  equal  width,  and  these 
are  again  divided  by  transverse  arches  into 
twelve  square  bays.  The  three  western- 
most bays  were  originally  a  narthex  ;  the 
remaining  nine  formed  a  square,  enclosing 
a  (ii'cek  cross,  the  central  bay  being  cov- 
ered by  a  high  hemispherical  dome,  the 
four  arms  of  the  cross  by  barrel-vaults,  and 
the  four  bays  in  the  angles  by  groined 
vaults  at  a  lower  level.  The  bay  form- 
ing the  south  transept  has  a  semicircular 


apse  ;  the  central  bay  on  the  east  had  an- 
other, which  was  demolished,  probably  in 
the  XV  cent.,  to  make  way  for  the  modern 
square  choir,  which  is  as  wide  and  as  long 
as  all  the  rest  of  the  church.  The  cliurcli 
was  made  the  cathedral  in  000,  and  this 
is  perhaps  the  date  of  the  central  dome. 
TJie  narthex  was  probably  taken  into  the 
church  when  the  choir  was  added  in  the 
xv  centurv. 
CAPUA,  Italy. 

Ampiiitheatke.  at  Sta.  ^Maria  di  Capua, 
two  miles  east  of  modern  Capua.  It  was 
probably  built  Ijy  the  colony  of  Augustus, 
though  it  perhaps  sui'ceeded  an  earlier 
sti'ucture,  as  Cajnia  had  at  an  early  period 
a  noted  school  for  gladiators,  and  was  re- 
stored under  Hadrian,  117-138  A.D.,  Sep- 
timius  Severus  and  Pertinax,  102  A.n., 
and  Valentinian  III.,  4-1.5  a.d.  Under 
the  Saracens,  in  the  ix  cent.,  it  was  con- 
verted into  a  fortress,  and  was  almost  to- 
tally ruined  in  the  defence  against  Athan- 
asius.  Bishop  of  Naples.  Remains  of  several 
corridors  and  arches  show  it  to  have  been 
a  magnificent  structure.  It  is  much  like 
the  Colosseum,  and  was  nearly  as  large. 
Tlie  plan  is  elliptical,  the  greater  axis  557 
ft.,  the  lesser  -158  ft.,  while  the  arena 
measures  350  ft.  by  150  ft.  Its  cajjacity  is 
variously  computed  at  from  43,000  to  (i3,- 
000  spectators.  The  superstructure  con- 
sists of  three  superim])osed  arcades  of 
eighty  arches  each,  ornamented  tlirough- 
out  with  columns  of  the  Doric  order. 
Heads  of  deities  are  scnljitured  on  the 
keystones  of  the  arches.  The  total  height 
is  05  ft.  The  material  of  the  arcades  is 
squared  blocks  of  travertine  laid  without 
cement ;  of  other  parts,  reticulated  brick- 
work. The  arena  was  flooi-cd  with  Ijrick 
carried  on  vaults,  ])resenting  numerous 
square  openings  for  trap-doors.  The  sub- 
structions remain  more  perfect  tlian  in 
the  Colosseum.  Canals  for  flooding  the 
arena  as  a  naumachy  and  drains  for  carry- 
ing the  water  into  the  river  survive  in 
good  preservation. 


CASALE 


Aiico  Campaxo  or  Arco  Felice.  A 
l{oman  triumiihal  arrh.  on  the  Ma  Ap- 
pia,  near  the  amphitheatre.  Of  its  three 
arches  011I3'  tlie  southei'ii  one  is  standing, 
togetlier  witli  tlie  pier  of  tlie  niitUlle  one. 
The  materiiil  is  travertine,  originally  cased 
with  marble. 

The  Catiiehk  \i,.  whose  date  has  been 
assigned  to  the  IX  and  xi  cents.,  is  a  three- 
aisled  basilica.  The  atrium  of  the  original 
chiindi  remains,  surrounded  by  a  colon- 
nade of  twenty-four  Corinthian  columns, 
of  which  sixteen  are  antique,  carrying 
rather  stilted  round  arches.  The  church, 
which  has  been  once  or  twice  rebuilt  and 
recently  restored,  retains  the  Gothic  ar- 
cades of  the  XIV  cent,  or  perhaps  earlier, 
carried  on  twenty-four  columns  with  Cor- 
inthian capitals,  more  or  less  recut.  The 
large  cryjjt  is  Norman  in  character,  with 
a  circuit  of  marble  columns,  also  of  Cor- 
inthian form. 

S.  Angelo  IX  FoKMis.  Tlie  original 
church,  dating  from  the  ix  cent.,  was 
rejilaced  or  restored  two  centuries  later 
in  connection  with  the  adjacent  monas- 
tery of  the  same  name,  and  consecrated 
in  1075.  It  is  a  small  rectangular  basil- 
ica, about  110  ft.  long  and  CO  ft.  wide. 
An  open  portico  of  five  groined  bays  gives 
access  by  a  central  doorway  to  the  nave, 
which  has  seven  rouiul  arches  on  each  side, 
sjiringing  from  anti([ue  columns  of  marble 
and  granite.  Tlie  nave  and  aisles,  ceiled 
with  wood,  terminate  each  in  a  round 
apse.  The  church  is  remarkable  for  its 
mural  paintings,  which  were  executed  by 
(ireek  artists  and  covered  the  whole  sur- 
face of  the  walls.  The  clerestory  is  painted 
with  three  ranges  of  pictures — the  west 
wall  of  the  nave  bears  a  great  picture  of 
the  Last  Judgment  covering  all  the  space 
above  the  door,  the  central  apse  a  picture 
of  Christ  enthroned  among  angels  and 
saints.  The  front  has  a  great  porch 
later  than  the  rest,  extending  across  its 
wliole  breadth,  with  five  high,  stilted, 
pointed  arches,  on  shortened  antique  col- 


umns of  various  sizes.  The  middle  arch, 
broader  than  the  rest  and  more  stilted, 
cuts  up  through  the  horizontal  cornice. 
On  the  wall  under  the  j)orch  and  in  the 
tympanum  of  the  doorway  are  frescoes. 
Above  the  jjorcli  roof  three  small  plain 
round-arched  windows  continue  the  clere- 
story under  a  low  gable.  A  Roman  temple 
of  ])iana  once  occupied  the  site,  and  is 
supijosed  to  have  furnished  the  columns 
in  the  church.  Its  peribolos  wall  may 
still  be  traced.  On  the  south  side  of  the 
church  stands  a  low,  detached  campanile, 
of  two  stories,  sejjarated  by  a  carved  string- 
course, and  a  flat  roof. 
CASALE  MONFEKRATO,  Italy. 

Cathedral  of  S.  Evasio.  A  striking 
old  Lombard  church  built  by  Luitprand 
in  741,  but  much  changed  in  the  xii 
cent.,  and  consecrated  by  Pjischal  II.  as  the 
cathedral  in  1107.  It  is  a  five-aisled  ba- 
silica, its  plan  a  rectangle  of  about  105  ft. 
by  170  ft.,  of  which  a  quarter  is  occupied 
by  a  narthex  or  vestibule  of  singular  con- 
struction. The  church  is  divided  by  cru- 
ciform piers  and  round  arches  into  nave 
iind  aisles  of  six  bays,  groin-vaulted  and  of 
nearly  equal  height,  the  fourth  bay  open- 
ing into  a  transept,  and  the  crossing  being 
covered  with  an  octagonal  dome.  There 
is  a  rather  deep  choir,  ending  in  a  round 
apse  and  flanked  by  two  others.  The 
nartliex  is  one  of  the  curiosities  of  archi- 
tecture. It  is  three  bays  deeji,  and  the 
aisles  of  the  main  church  were  carried 
across  it,  but  in  the  beginning  or  later  the 
four  middle  piers  were  suppressed,  while 
the  vaulting  compartments  were  retained, 
and  the  six  central  vaulting-bays  are  hung 
on  two  great  transverse  arches  and  two 
ranij)ing  half-arches  that  bear  like  flying 
buttresses  against  the  inside  of  the  fa9ade. 
Tlie  span  of  the  great  arches  is  nearly 
(10  ft.,  and  their  height  about  the  same. 
A])parently  tlie  half -column  buttresses 
that  flank  the  door  were  at  first  expected 
to  stay  the  fa9ade  against  the  half-arches, 
but  were  insufficient,  and  great  wall-but- 


CASA.MARI 


tresses  were  added.  Tlu'  HM/ndc  is  inostl\- 
ovcrbuilt.  Tlie  exjw.sed  centre  consists 
of  a  low  arelieii  doorway  with  stout  col- 
uinns  anil  cubic  capitals,  and  above,  a 
blind  arcade  of  interlacing;  arches  whose 
colunins  have  foliage-capitals.  Over  this 
an  arched  jianel  encloses  two  trijile  win- 
dows under  round  arches,  one  over  the 
other.  Each  side  the  doorway  a  tall  col- 
umnar buttress  divides  the  whole  front, 
and,  as  has  been  said,  is  built  over  witli  a 
heavy  wall-buttress.  The  front  is  under  a 
single  low  gable,  with  an  arched  corbel- 
table.  The  details  are  of  interesting  early 
Londiard  character. 
CANA-MAHI,  Italy. 

A  Benedictin-e  Moxasteuy  was  found- 
ed   in    108S.  which   passed    in    later   tlays 


into  the  hands  of  the  Cistercians,  when 
its  architecture  was  greatly  moditicd.  It 
now  presents  one  of  the  most  interesting 


examples  in  Italy  of  the  pointed  stvle, 
clearly  indicating  French  prototypes.  The 
church  ajipears  to  have  been  built  in  the 
XII  cent.,  but  was  oidy  consecrated  in 
1217.  It  is  cruciform  in  ])lan,  with  a 
length  of  about  l.iiO  ft.,  a  breadth  across 
the  transept  of  about  110  ft.,  and  :in  oc- 
tagonal dome  at  the  crossing.  Xave  and 
aisles  arc  separated  by  compound  piers, 
carrying  six  pointed  arches  on  each  side, 
and  are  covered  with  groined  vaulting. 
Tlie  facade  has  three  pointed  arclied  door- 
ways, and  above,  a  wheel  window  between 
two  lancets.  A  fine  cloister  ojjcns  from 
the  right  transept,  with  slightly  pointed 
arches  in  groups  of  three  or  four,  on  small 
columns  with  foliated  capitals  of  various 
design.  A  remarkable  chapter-house  is 
entered  from  the  cloister,  di- 
vided into  three  aisles  byelus- 
tei-ed  columns,  alternating  with 
single  columns  and  supporting 
jiointed  arches  which  divide  the 
ceiling  into  groined  i)ays.  The 
room  is  lighted  by  four  two- 
light  pointed,  arched  windows 
divided  bv  mullions.  {See 
Fin.  r<. ) 
('ASAN()\A.  llaly. 

The     ('isTi;ii<iAN     .Moxas- 
TKiiV  of  Casanova,  not  far  from 
I'enne   in    the   Abruzzi.   was 
foundcil   in    1  I'.ij.  and    in    ]  l!i.') 
\vas    taken    possession    of    Ijy 
monks   from   SS.  Vincenzo  ed 
Anastasio  near  IJome.     It  was 
aliandoned  in  the  xvi  cent,  and 
is  now  jiartly  in  ruins.     It  was 
originally   of   great  size,   mag- 
nilircnce,    and    wealth,     the 
mctther  of  three  important  mon- 
^       asteries  (Iiijialta.  S.   Pastore 
-^  "lifl       near    Kieti.    and    S.    Spirito 
d"()cre).  and  with  many  others 
dejiendent  \\\hi\\  it.      The  style 
of  the  buildings  is  pure  Romanesque,  with- 
out a  trace  of  the  Gothic,  which,  in  more  or 
less  transitional  form,  was  enqjloyed  in  con- 


OASAUEIA 


It  is  well 


temponirv  Cistercian  moniisteries.  There 
appear  to  be  two  periods  of  coustruction,  the 
earlier  one  of  stone  and  the  later  of  brick. 
The  church  consisted  of  three 
aisles,  a  transejit  with  two 
square  chapels,  and  a  square 
apse,  all  covered  with  fine  lofty 
tunnel-vaults.  On  ime  side  of 
the  apse  is  a  line  Gothic  hall 
with  a  high  ribbed  cross-vault, 
somewhat  later  in  date  than 
the  church.  The  refectory  was 
supported  by  a  forest  of  col- 
umns sustaining  cross -vaults, 
divided  into  tliree  aisles,  and  is 
the  largest  belonging  to  the  or- 
der in  Italy  with  the  exception 
of  that  at  C'asamari.  The 
chai^ter  -  house  belongs  to  the 
period  of  the  brick  construc- 
tions, and  consists  of  six  cross- 
vaults  supported  by  two  shafts 
with  plain  semi-cubic  capitals, 
known  that  the  tunnel-vault  was  very  sel- 
dom used  in  Italian  Romanesque  architec- 
ture ;  here  at  Casanova  it  is  employed  on 
a  scale  hardly  equalled  in  other  instances. 
Other  examples  of  the  use  of  the  tunnel- 
vault,  in  buildings  belonging  to  the  Cis- 
tercian order,  such  as  S.  Pastore  at  Rieti, 
S.  iSpirito  d'Ocre,  and  SS.  Viucenzo  ed 
Anastasio  near  Rome,  show  that  it  is  duo 
to  the  influence  of  the  latter  monastery. 
Two  contemporary  churches  not  belong- 
ing to  the  order  show  the  spread  of  the 
tunnel  -  vault  to  Umbria ;  they  are  the 
churches  of  S.  Silvestro  and  S.  Michele  at 
Bevagna  near  Foligno.  [A.  L.  F.,  .Ji;.] 
CASAURIA,  near^'Pescara,  Italy. 

S.  Cle.mente,  the  abbey  church,  was 
founded  in  854  by  Ludwig  II.,  was  de- 
stroyed in  the  xi  cent,  by  the  Saracens, 
and  rebuilt  in  the  xii  substantially  as  it 
now  appears.  It  is  a  three-aisled  basilica, 
with  transept  and  single  apse  raised  above 
the  nave  floor.  The  nave,  about  125  ft. 
long  by  50  ft.  wide,  is  in  seven  baj's  of 
pointed   arches   carried   on   square   piers. 


and  is  covered  by  a  wooden  tunnel-vault, 
tied  across.  The  apse  is  entirely  Lombard 
in   character.       Beneath   is  a  crypt  sup- 


Fig.  46-— caserta  Nuova,  R",   ,  p.,  .    M  I    ,-,  r, 

ported  by  twelve  antique  columns,  which 
doubtless  belongs  to  the  original  church. 
The  handsome  square  pulpit  dates,  accord- 
ing to  its  inscrijition,  from  the  ix  cent., 
and  the  altar  is  an  old  Christian  sarcopha- 
gus. The  interesting  part  of  the  exteri- 
or is  the  front,  which  has  an  open  porch 
of  three  ai'ches,  one  round  between  two 
pointed,  of  somewhat  Norman  character, 
and  above,  a  range  of  coupled  windows 
with  dividing  shafts,  and  ends  horizontally 
without  a  cornice,  as  if  untinislied. 
CASERTA  NUOVA,  Italy. 

The  Royal  Palace,  built  in  1752  from 
the  designs  of  Liidwig  von  Wittel,  better 
known  under  his  Italianized  name  of  \"an- 
vitelli,  perhaps  his  most  celebrated  work, 
is  one  of  the  largest  of  European  palaces, 
covering  a  rectangle  measuring  780  ft.  by 
5-10  ft.  Its  plan  is  extremely  simjile  ;  the 
outer  circuit  of  buildings  encloses  a  space 
which  is  divided  by  two  cross  wings  into 
four  equal  courts,  each  about  230  ft.  long 
and  100  ft.  wide.  At  the  centre  is  a  great 
octagon  from  which  ojjens  the  grand  stair- 
case, anil    which    is   covered    by   a   dome. 


75 


CASKKTA 


Tho  ])l!iii  iiK-liules  ;i  chapel,  very  rich  in 
precious  iiuirbles,  and  a  tlioatre  achn-nei! 
with  sixteen  Corinthian  cohinms  (j1'  AI- 
rican  marble  taken  from  the  temple  of 
Serapis  at  Pozznoli.  The  decorations 
throughont  the  jjalaee  are  rich  and  ele- 
gant, the  construction  very  solid,  and  the 
ceilijigs  everywhere  vaulted.  The  exte- 
rior design  is  somewhat  ineffective — two 
ranges  of  pedimeiited  windows  above  a 
high  basement  and  beneath  a  long  hori- 
zontal cornice,  with  pavilions  at  the  angles 
and  centres,  including  the  two  upper  sto- 
ries under  an  engaged  Corinthian  order, 
and  pediments  over  tlie  central  jxivilions. 
[See  Fiq.  J,<;.) 
CASEli'J'A  VECCHIA.  Italy. 

The  Catiikural  (St.  Michael),  re- 
l)uilt  in  \\W^.  is  one  of  the  most  impor- 
tant and  interesting  monuments  of  the 
Norman  occupation  of  South  Italy.  It  is 
a  small  basilica  measuring  l.j3  ft.  in  length 
and  (V.\  ft.  in  width,  or  '.)()  ft.  across  tran- 
sept. 'I'bc  llat-ceiled  nave  and  aisles  are 
separated  by  ten  tall  round  arches  on  each 
side,  carried  on  Corinthian  columns,  ahove 
which  is  a  high  wall  with  small  round- 
headed  clerestory  windows.  The  transept 
lias  a  singli'  square,  groined  bay  on  each 
side  of  the  crossing  which  forms  the  choir, 
and  is  covered  by  an  octagonal  dome  on 
four  higli  slightly  jjointcd  arches,  with 
jH-ndcntivcs  s])ringing  from  angle-shafts. 
The  drum  of  the  dome  has  a  l)liiid  ar- 
cade of  round  arches  on  slender  engaged 
shafts.  From  the  crossing  opens  a  mod- 
ern rectangular  chancel.  The  clioir  is  fur- 
nished with  stalls  of  the  xv  century.  The 
exterior  is  very  interesting.  Tlu'  unbrok- 
en wall  of  the  front  follows  in  outline 
the  interior  section.  There  are  three  ])lain 
s(|uare-headed  doorways  nnder  round  beai-- 
ing-arches  guarded  by  monsters.  Over 
the  ('entral  door  is  a  single  round-lu-aded 
window  with  corbelled  shafts.  Abovt'  a 
horizontal  arched  corbel-table  is  a  low  ga- 
|)le  with  interlacing  arcades.  At  the  south 
angle  of  the  front  is  a  fini'  tower,  finished 


in  lt>o4,  decorated  with  interlacing  ar- 
cades, two  light  windows,  and  angle-tur- 
rets. The  flanks  of  the  church  are  very 
simple  ;  small  round-headed  windows  light 
the  aisle  and  clerestory ;  the  transejit 
has  small  horse-shoe  windows,  and  low 
gables  faced  with  blind  arcades.  The  re- 
markable central  lantern  is  decorated  with 
mosaics  in  the  Sicilian  nuinner  in  two  sto- 
ries of  blind  interlacing  artuules.  A  l)and 
of  square  panels  between  the  stories,  a  belt 
at  the  level  of  the  upper  capitals,  and  a 
frieze  under  the  cornice  are  similarly  deco- 
rated, as  is  also  the  whole  surface  of  the 
ujiper  wall.  The  lantern  ])robably  dates 
from  the  later  half  of  the  xiii  century. 
CASTEL  D'ASSO  (Castcllaccio,  "anc. 
Axia).  Italy. 

The  Etruscan  Necropolis  is  formed 
of  rock-cut  chambers  with  architectural 
facades  from  12  ft.  to  30  ft.  high.  'J'he 
I'ange  of  tondis  extends  for  a  considerable 
distance,  like  a  street,  along  the  side  of  a 
lateral  raviiu'.  'i'lie  doors  narrow  toward 
the  top,  like  those  of  the  Egyptians  ;  the 
details  of  the  Imrial-chambers,  and  the 
abundant  insci'iptions.  are  all  interesting. 
CASTEL-DEL-MUNTE,  Italy. 

An  ancient  and  ruined  castle  on  the 
summit  of  a  hill  about  twelve  miles  from 
Trani.  built  during  tlie  earlier  half  of  the 
XMi  cent,  by  thi;  Emperor  Frederick  II. 
as  a  hunting  seat.  In  ]ilan  it  is  an  octa- 
gon. 130  ft.  in  diameter,  with  an  octagonal 
tower  at  each  angle  and  ili\iilc(l  b\  railiat- 
ing  partitions  in  each  story  into  eight 
vaulted  chand)ers  about  an  octagonal 
court.  The  i)oinfed  arched  ribs  s])ring 
from  angle-shafts  of  red  ami  white  marble, 
single  and  gi-iiupcil.  Small  s])iral  stairs 
in  four  of  the  angle-turi'cts  connect  the 
two  stories.  The  exterior  is  very  simple. 
It  has  a  single  pointed  arched  door  undei- 
a  simulated  porch,  and  in  the  upper  storv 
two-light  traceried  windnws.  nndei'  pointed 
bearing-arches. 
CA'l'AXIA  (anc.  Cafana).  Sicily. 

AMi'Hrriii:ATi;j:,   probably   of   the   time 


CATANIA 


of  Augustus.  It  remained  intaet  until 
498  A.I).,  when  Tlieodoric  gave  pevniission 
to  the  citizens  to  repair  the  city  walls  with 
its  stones.  Only  a  few  arclies  and  vaulted 
corridors  are  now  visible.  The  jilan  is  el- 
liptical, the  greater  axis  about  410  ft.,  the 
lesser  1545  ;  axes  of  the  arena,  230  and 
104  ft.  The  material  is  concrete  cased 
with  massive  masonry,  with  brick  vault- 
ing under  the  seats,  which  are  of  lime- 
stone. Traces  of  aqueducts  show  that  it 
was  used  for  the  naumachy. 

The  Bexedictixe  IMonasteky  of  St. 
Xicholas,  though  never  completed,  was  one 
of  the  largest  and  most  magnificent  in 
Europe.  It  is  an  immense  enclosure,  in- 
cluding two  courts  about  130  ft.  S(piare 
out  of  four  that  were  intended,  surround- 
ed by  buildings,  and  behind  them  sujierb 
gardens.  The  courts  are  lined  with  ar- 
caded  cloisters  in  two  stories.  In  the 
front  court  the  arcades  are  composed  of 
the  so-called  Palladian  motive,  the  arches 
enclosed  in  an  order  of  Tuscan  columns, 
with  a  sub-or<ler  supporting  the  imposts  ; 
producing  an  effect  of  great  magnificence  ; 
in  the  other,  the  arches  sjiring  directly 
from  the  columns,  with  the  light  effect  of 
the  early  Renaissance.  The  church,  dedi- 
cated to  8t.  Nicholas,  and  imbedded  in  the 
buildings  with  its  front  to  the  street,  is 
very  large,  measuring  some  360  ft.  long 
and  more  tlian  -^OO  ft.  across  the  transept, 
and  still  untinished  on  the  outside.  The 
broad  nave  consists  of  two  square  domed 
bays  and  a  third  shorter  and  barrel- 
vaulted.  The  crossing  is  also  covered  by 
a  dome,  the  aisles  carried  round  both 
sides  of  the  transept  as  well  as  the  nave 
and  choir  ;  the  transept  arms  and  the  deep 
choir  which  is  flanked  by  two  square 
chapels  all  end  in  round  apses.  The 
monastery  was  founded  in  1.558  and  was 
twenty  years  in  building,  was  injured  by 
an  eruption  of  Blount  ^Etna,  and  restored 
in  1087.  Six  years  later  it  was  partially  de- 
stroyed by  an  earthquake  and  abandoned. 
In  173(J  it  was  again  restored,  and  was  oc- 


cupied as  a  monastery  till  it  was  secular- 
ized under  Victor  Imnianuel. 

Tiie  Cathedral  (Sta.  Agata)  contains 
the  shell  of  the  earliest  church,  built  un- 
der Roger  I.,  on  the  ruins  of  the  Roman 
tliermaj,  and  consecrated  in  1094.  It  was 
injured  and  again  practically  destroyed  by 
an  earthquake  in  1109,  which  buried  the 
abbot  and  a  crowd  of  peojjle,  and  again 
in  1093,  after  which  it  was  entirely  re- 
built, the  front  being  added  by  Vaccherini 
toward  the  middle  of  the  xviii  century. 
It  is  a  three-aisled  church  with  transept,  a 
dome  over  the  crossing,  and  three  eastern 
apses,  about  300  ft.  long  and  100  ft. 
across  tlie  transept.  The  interior  is  en- 
tirely modern,  but  the  walls  of  the  apses 
and  transept  still  show  on  the  outside  an 
arcade  of  pointed  arches  which  probably 
dates  from  the  rebuilding  at  the  end  of  the 
XII  century.  The  eai-lier  Lomliard  west 
doorway  was  afterward  transferred  to  the 
church  of  S.  Carcere.  Yaccherini's  low 
broad  Ixiroco  fa(;ade.  following  the  out- 
line of  the  nave  and  aisles,  is  decorated 
with  two  orders  of  grouped  columns, 
among  which  are  six  that  are  believed  to 
have  come  fi-om  the  ancient  baths,  whose 
remains  are  still  to  be  seen  beneath  the 
church.  Behind  the  fagade  rise  a  well- 
proportioned  dome  and  cujwla  on  a  drum 
decorated  with  an  order  of  engaged  Co- 
rinthian columns.  The  handsome  choir- 
stalls,  of  1592,  represent  in  carved  panels 
the  story  of  St.  Agatha,  whose  relics  oc- 
cupy her  chapel  in  the  right  apse. 

Sta.  Maria  della  Rotoxda.  This 
structure  is  a  well-preserved  ancient  Roman 
circular  building  with  a  dome  resting  on 
eight  arches.  The  walls  are  of  lava  and 
brick  coated  with  a  very  fine  stucco.  Near 
the  high  altar  a  large  arch  opens  into  what 
was  apparently  the  vestibule  connecting 
with  the  baths  of  which  it  probably  was 
part. 

Theatre,  in  the  midst  of  the  modern 
city,  on  the  Strada  del  Corso.  The  foun- 
dations   are    Greek ;    the   superstructure. 


CATTAKO 


now  in  great  part  luidcrirround,  is  Roman. 
The  eavea  is  a  semicircle,  facing  south ; 
there  are  two  precinctions  or  horizoTital 
passages,  and  tliere  was  a  portico  around 
the  upper  boundary.  The  massive  exte- 
rior masonry  is  of  hiva  ;  tlie  concrete  of 
tlie  vaults  is  strengthened  with  brickwork. 

Therm.e  (Baths).  Ten  rooms  remain, 
some  of  them  in  excellent  preservation. 
The  chief  of  these,  octagonal  in  plan,  with 
niches  ill  the  concrete  walls,  a  lava  vault, 
and  brick  arches,  is  identified  as  the  ajio- 
dyterium  or  dressing-room.  The  frigi- 
darinm,  tepidarimn.  and  caldarium  are  all 
more  or  less  well  preserved  ;  in  the  walls 
of  the  last  is  visible  part  of  the  system  of 
hollow  tiles  by  which  heated  air  was  con- 
veyed. Outside  of  the  caldarium  the  fur- 
nace is  seen. 
CATTARO.  Dalmatia. 

The  Catiiedhai.  (S.  Trifone)  is  a  xii 
cent,  basilica,  altered  after  an  earthquake 
in  the  xvii.  It  has  a  lofty  nave  of  four 
bays,  aisles,  and  three  apses  against  the  east 
wall.  It  is  round-arched  with  grouped 
nave  jjiers  alternating  with  single  columns, 
there  being  two  square  bays  of  the  aisles 
to  one  of  the  nave,  except  the  westernmost 
bay,  which  is  of  half  the  length  of  the 
others.  The  bay  next  the  choir  has  the 
original  vault,  the  rest  of  the  vaulting 
being  later.  The  first  church  was  built  in 
809  A.D..  to  receive  the  bones  of  S.  Trifone. 
It  was  destroyed  and  reljuilt — conseci-ated 
in  11()G.  In  1607  an  earthquake  destroyed 
the  facade  and  towers,  which  were  rebuilt. 
It  contains  a  handsome  baldacchino  over 
the  high  altar,  after  the  Dalmatian  form, 
in  three  octagonal  arcadeil  stories  carried 
on  a  four-square  architrave  by  four  col- 
uums. 
CECCANO.  Italy. 

Sta.  Maiua  DEI,  Fii'ME,  near  the  city, 
originally  belonged  to  the  Cistercians.  It 
is  cruciform,  with  a  square  apse  and  no 
side-chapels.  The  present  length  is  105 
ft.  without  counting  the  present  apse, 
which  is  modern  :  the  width  is  '>'i  ft.  across 


the  nave  and  aisles  and  70  ft.  across  the 
transept.  The  nave  and  aisles  have  groined 
cross- vaults  over  their  four  bays  suj)ported 
by  unnioulded  piers  ;  while  the  transept 
has  rihijed  pointed  cross-vaults  like  those 
at  Fossanova  and  Casamari.  The  main 
arches  of  the  nave  and  all  the  transverse 
arches  but  two  ai-c  pointed.  The  fa9ade 
has  a  ro.se  window  similar  to  that  at  Val- 
visciolo  iq.r.)  hut  smaller,  and  the  door- 
way underneath  is  round-headed.  The 
tower  over  the  farther  bay  of  the  left-hand 
aisle  is  early  and  is  supported  on  a  tunnel- 
vault.  The  main  body  of  the  church  ap- 
pears to  have  been  built  in  the  xii  cent., 
the  transept  in  the  xiii,  and  the  transi- 
tion from  one  to  the  other  is  evident ;  a 
develo2)ed  Gothic  style  is  shown  in  the 
tracery  of  the  windows  in  the  transejit  and 
in  the  banded  engaged  columns  of  its  piers 
similar  to  some  at  Casamari.  The  conse- 
cration of  this  church  in  111)0  is  described 
at  length  in  the  chronicle  of  Fossanova. 
[A.  L.  F.,  Jr.] 
CEFALU,  Sicily. 

The  Catiieukal,  built  between  li:U 
and  1148,  by  Roger  II..  and  more  or  less 
altered  in  the  xiii  and  xiv  cents.,  is  a 
three-aisled  basilica,  with  projecting  tran- 
sejDt  and  a  deep  choir  and  two  lateral 
chapels,  all  ending  in  round  apses.  It 
was  at  first  a  smaller  church,  which,  ac- 
cording to  tradition  was  an  otl'ering  of  the 
king  to  St.  George  for  his  preservation 
from  a  dangerous  storm  at  sea.  but  was 
iiijure<l  by  fire  and  converted  into  the 
present  great  church  immediately  after  its 
first  completion.  The  front  is  recessed 
and  fianked  by  two  high  and  massive 
square  towers  with  pointed  windows,  sur- 
mounted by  small  square  pavilions,  rising 
behind  parapets  and  crowned  by  low 
spires.  The  recess  is  filled  by  a  light 
open  vaulted  jiorch  of  three  arches — one 
round  between  two  pointed.  This  is  a 
later  addition  and  covers  the  original 
round-arched  Xormanized  door-way.  Over 
the  porch  are  two  blind  ari'ades  of  jKiinted 


78 


CERVETRI 


arches,  interlacing  below  aiid  single  above. 
The  nave,  lower  than  the  transept  and 
choir,  was  apparently  not  carried  to  its 
intended  height,  leaving  the  fa9ade  and 
flanks  unflnished.  The  east  end  shows 
the  lofty  clioir  and  low  side-apses  enriched 
with  coupled  shafts  and  blind  arcades, 
partly  simple  and  partly  interlaced.  The 
arches  throughout  are  pointed,  except  the 
west  door.  The  church  is  about  265  ft. 
long  by  135  ft.  across  the  transept.  The 
nave,  -10  ft.  wide  and  Go  ft.  high,  is  in 
seven  bays  of  stilted  pointed  arches  with 
columns  whose  capitals  are  some  antique 
and  some  Lombard.  The  clerestory  has 
single  windows  and  a  wooden  open-tim- 
bered roof.  The  transept  and  crossing, 
raised  several  steps  above  the  nave,  are 
some  'JO  ft.  high.  The  crossing  seems  to 
have  been  intended  for  a  central  tower  or 
dome,  which  is  lacking ;  the  choir  is 
groined,  with  corbelled  vaulting -shafts, 
and  adorned  with  mosaics,  among  the 
finest  in  Sicily.  Against  the  entrance  jiier 
of  the  choir,  which  is  raised  a  little  above 
the  crossing,  are  set,  facing  each  other, 
the  throne  of  the  bishop  and  one  for  the 
king — an  arrangement  peculiar  to  Sicily, 
where  the  kings  claimed  a  sacerdotal  rank. 
Three  sides  of  the  cloister  of  the  adjoining 
convent  remain,  with  pointed  arcades  on 
coupled  columns  whose  shafts  are  twisted 
and  enriched,  and  the  capitals  variously 
carved,  resembling  those  at  Monreale. 
CERN'EIMII  (auc.  Agylla,  Crere),  Italy. 

T'oMii  OF  THE  Reliefs,  discovered  1850 
by  the  ilarquis  Campana.  It  is  reached 
by  a  long  flight  of  rock -cut  steps,  at 
whose  entrance  are  sculptured  two  large 
lions.  The  chamber,  measuring  25  ft.  Ijy 
21  ft.,  is  surrounded  by  broad,  rock-cut 
benches.  Two  square  piers  support  the 
panelled  roof,  and  in  the  walls  are  cut 
thirteen  rectangular  niches  for  bodies. 
This  tomb  is  remarkable  for  the  abun- 
dant painted  reliefs  on  its  walls  and  piers. 
The  burial  niches  are  sejiarated  by  fluted 
pilasters,  whose  capitals,  like  those  of  the 


roof-piers,  apjiroach  the  proto-Ionic  or 
^olic  type.  On  every  pilaster  is  carved 
a  round  shield.  Above  the  niches  runs  a 
frieze  of  varied  Etruscan  weapons,  all  in 
relief  and  colored.  Over  the  doorway  are 
placed  sacrificial  emblems.  The  faces  of 
the  roof-piers  are  carved  with  a  variety 
of   domestic   and   sacerdotal    implements. 

Tomb  of  the  Tauquixs,  identified 
beyond  reasonable  doubt  as  a  burial-place 
of  the  great  kingly  family  of  Rome.  It 
consists  of  a  rock-hewn  vestibule  from 
which  a  flight  of  steps  leads  down  to  a 
second  chamber,  35  ft.  square,  with  a 
panelled  roof  in  two  slopes  supjiorted  by 
two  scpiare  piers  in  the  middle.  A  plain, 
rock-hewn  bench  runs  along  both  sides, 
and  thirteen  rectangular  niches  for  bodies 
are  cut  in  the  walls,  in  a  single  tier.  The 
entire  interior  is  coated  with  stucco,  on 
which  numerous  inscriptions  are  impressed, 
or  painted  in  red  or  black,  together  with 
some  ornament,  as  wreaths,  pilasters,  cas- 
tanets, claw-footed  legs  of  couches,  so  dis- 
posed as  to  give  the  niches  the  appear- 
ance of  beds,  and  a  circular  shield  on  one 
of  the  piers.  Among  the  inscriptions  the 
name  of  Tarquin  occurs  thirty-five  times. 
('II  ALOIS.  HeeAiijar. 
CIIIARAVALLE,  near  Ancona,  Italy. 

The  old  Bexedictine  Monastery  has 
a  church  of  the  Cistercian  type,  transi- 
tional in  style,  with  an  inscription  bearing 
the  date  of  its  building  in  1173.  It  is 
cruciform,  with  a  nave  and  aisles  of  six 
bays,  pointed  arcades,  and  vaults,  pro- 
jecting transept  of  two  bays,  and  a  square 
])rojecting  choir,  flanked  on  the  left,  and 
formerly  on  the  right,  by  three  square 
chapels.  The  exterior  is  Romanesque  in 
type. 
CTIIARAVALLE,  near  Jlilan,  Italy. 

The  Abbey  UiirHrH  resulted  from  the 
enthusiasm  aroused  by  a  visit  of  Bernard 
of  Clairvaux  to  Milan,  in  1134.  The 
first  Cistercian  monastery  in  Italy  was 
founded  during  the  next  j-ear,  and  the 
church  was  consecrated  in  1221.     It  is  a 


CHIARAA^ALLE 


lar^e  cliureli  witli  a  Inn";  nave  of  nine 
bays,  long  trausej)!,  a  sfiuare-ended  choir, 
a  simj^le  square  campanile  at  the  front, 
and  over  the  crossing  a  remarkable  lantern 
or  tower,  which  is  the  only  important  ex- 
ternal feature.  It  is  octagonal,  the  lower 
portion  as  broad  as  the  nave  of  the  church, 
with  a  two-light  window  under  a  round 
bearing-arch  in  each  face,  and  two  ranges 


greater  juirt  is  concealed  liy  the  uj)per 
stages  of  the  octagon  which  are  built 
round  it.  The  interior  is  spacious  and 
not  without  grandeur,  though  now  dis- 
mantled and  covered  with  whitewash. 
The  n.ive  has  four  bays  in  front  of  the 
crossing,  massive  piers  with  simple  impost 
moulding,  and  round  arches.  On  each  al- 
ternate pier  is  carried  np  a  pilaster  from 


Fig.  47.— Chiaiavalle,  Abbey   Chuich. 


of  oyiQW  arcaded  galleries  above.  At  this 
point  a  somewiiat  later  construction  begins 
— a  series  of  diminishing  arcaded  galleries, 
out  of  which  rises  a  slender  tower  in  two 
stories,  tlie  upper  one  an  arcaded  belfry 
stage  linishing  with  an  open  l)alustrade 
and  a  round  brick  spire.  Tlie  whole  is 
graceful  ami  eifective.  The  construction 
of  the  lantern  is  interesting.  The  lower 
division  has  a  double  wall,  of  which  the 
inner  ])ortion  carries  the  wall  <ir  the  sec- 
ond division.  From  the  toj)  of  tJiis  latter 
wall    r^tarts    tlie  real    S2)irc,   of    which  the 


which  a  transverse  arch  is  carried  over  the 
nave.  Between  the  arches  the  nave  is 
vaulted  in  a  single  square  four-part  vault. 
There  is  no  triforium,  but  a  simjile  clere- 
story with  round  arched  windows.  The 
central  lanterii  shows,  within,  two  stories 
above  the  nave  vaulting,  and  an  octagon- 
al dome,  covered  with  modern  paintings. 
The  transei)t  arms  are  large,  as  high  as  the 
nave,  and  have  each  three  easterlv  chapels. 
The  square  choir  has  a  beautiful  double 
row  of  stalls,  dating  from  the  xvii  cent.. 
and   enriched    with   fine    carvings.      The 


CIIIK'I'I 


ehiiir  has  tlio  remains  oi  fR'.sCDOs  by  l?ci-- 
iianliiu)  Luiiii.      (Sec  /•'///.  47.) 
ClllETI.  Italy. 

The  Cathedral  is  im  xr  cent,  chuirli 
consecrated  in  lOdS.  liiit  reiieatedly  rebuilt 
in  the  xvi.  xvii,  and  x\iii  cents.,  and 
last  in  1848.  Little  of  tluMtri^inal  church 
remains  beyond  the  general  disposition. 
The  nave  and  aisles  are  each  in  four 
groined  bays  ;  the  rectangular  transept 
with  three  eastern  apses  is  raised  l)y  thir- 
teen steps  above  the  nave,  and  under  it  is 
a  fine  crypt  with  seven  aisles,  each  three 
bays  in  length,  and  three  apses.  The 
tower  on  the  front  dates  from  I'.V.Vt.  l)ut 
its  upper  story  from  14'.)<S. 
CIBYRA,  Phrygia,  Asia  Minor. 

Odeuji,  or  small  theatre,  about  one 
hundred  yards  south  of  the  large  theatre. 
The  exterior  diameter  is  17.")  ft.;  thirteen 
tiers  of  seats  are  visible,  and  probably  more 
are  hidden  in  the  lower  part.  Its  front  is 
a  high  wall  pierced  with  five  arched  door- 
ways tlanked  by  two  square  ones,  and  re- 
mains nearly  entire. 

Theatre  in  the  upper  part  of  the  city. 
The  exterior  diameter  is  'Wi  ft.;  there  are 
thirty-six  tiers  of  seats  visible,  twenty-one 
above  the  diazoma  or  horizontal  passage, 
and  fifteen  below,  antl  probably  more  ex- 
ist under  the  soil.  (July  the  foundations 
and  a  doorway  of  the  stage-structure  are 
left. 
CITTA  1)1  CASTELLU.  Italy. 

The  C.4.THEDRAL,  dedicated  to  S.  Flor- 
ido,  is  an  early  Renaissance  building,  re- 
placing the  original  church  of  Kil-.',  de- 
stroyed by  the  eartlupiake  of  14.')8,  ami 
of  which  only  the  round  bell-tower  re- 
mains. The  present  church,  begun  in 
1482,  but  not  finished  until  about  l.")3(i, 
and  consecrated  in  1.540,  is  craciform  in 
plan  with  a  length  of  about  210  ft.  and  a 
breadth  of  T.5  ft.  It  has  a  broad  nave 
without  aisles,  covered  by  a  coffered  wood- 
en ceiling,  and  flanked  by  six  rectangular 
chapel-like  barrel-vaulted  recesses  on  caeii 
side,  of  which  one  is  an  entrance  vestil)ulc 


and  tlie  ojiposite  one  the  vestibule  of  a 
large  sipuire  chapel  of  later  date  tiian  the 
church,  dedicated  to  the  Holy  Sacrament, 
and  covered  by  a  round  dome.  An  order 
of  Corinthian  pilasters  encircles  the  church, 
under  which  round  arches  enter  the  nave 
chapels.  Above  the  roof  of  the  chapels  is 
a  clerestory  set  with  an  order  of  pilasters 
and  pierced  by  windows  with  pediment 
caps.  The  nave  opens  by  a  triumphal 
arch  into  a  transept  as  high  as  itself,  and 
the  crossing  is  covered  by  a  hemisjjherieal 
dome  raised  on  a  drum  and  masked  with- 
out by  a  great  octagonal  lantern.  The 
square  choir  is  a  prolongation  of  the  nave 
and  covered  by  a  flat  domical  ceiling. 
The  design  of  the  church  has  been  attrib- 
nted  to  Bramante,  but  there  seems  little 
doubt  that  the  architect  was  Elia  di  Bar- 
tolommeo  Lond}ardo. 

CITTADUCALE  (anc.  A(pue  Cutilice), 
Italy. 
The  site  of  the  ancient  city  is  long  and 
somewhat  narrow;  it  abounds  with  Ko- 
nmn  ruins,  still  mostly  unexcavated, 
among  which  acjueducts  and  therma?  are 
the  most  noticealde.  One  of  the  baths 
has  been  in  ]Kirt  explored  ;  part  of  its  ex- 
terior walls,  in  i-eticulated  masonry  with 
cordons  of  tiles,  still  rises  to  a  height  of 
several  yards.  Along  the  south  and  east 
walls  there  is  a  series  of  chambers. 
.Vmong  them  is  a  nymphseum  in  which 
are  four  fountains  coated  with  hard  stucco  ; 
their  semicylindrical  vaults  are  adorned 
with  shells  of  various  kinds,  and  they 
have  at  the  angles  graceful  little  pilasters 
inlaid  with  small  bits  of  marble  of  different 
colors,  and  blue  glass.  The  walls  of  the 
caldariuin  or  hot  bath  were  plastered  in 
white,  with  the  lower  part  and  panelling  in 
red ;  three  tiers  of  seats  skirted  the  walls, 
which  were  adorned  with  niches  and  pilas- 
ters. The  entire  floor  of  this  hall,  includ- 
ing the  tank,  was  raised  on  short  piers  for 
the  needs  of  heating.  There  are  ahujidant 
remains  of  the  hypocaustuiu.  with  its 
heating-furnaces  and  pipes. 


81 


CIV  ATE 


CI \' ATE.  Italy. 

Tlie  little  ('uriicii  of  S.  Pietho 
was  attuclied  to  a  Bonudictiue  moiiasti'iy 
founded  in  tlio  ix  cent,  in  the  remote  and 
mountainous  region  now  known  as  the 
Brianza.  It  stands  high  on  the  mountain 
side  above  the  town,  surrounded  by  the 
ruins  of  its  monastery ;  and  is  iijjproaehed 
by  a  long  staircase  at  the  principal  en- 
trance at  tlie  east  end.  Its  ]ihiu  is  ii  sim- 
ple rectangle,  about  ^5  by  T-")  ft.  inside, 
with  a  semicircle  at  each  end.  The  exte- 
rior is  of  the  simplest  design,  the  walls  are 
of  stone  and  ilivided  into  ratlier  narrow 
panels  by  slender  pilasters  ending  in  an 
arched  corbel-table.  A  small  square  cam- 
]iaiule  of  comparatively  recent  date  is 
attached  to  the  south  wall.  The  western 
semicircle  is  the  apse  of  the  choir,  which 
occupies  a  third  of  the  rectangle,  and 
whose  floor  is  raised  five  .st(!ps  above  that 
of  the  nave.  The  eastern  semicircle  is 
divided  into  three  vaulted  compartments, 
of  which  those  at  the  sides  end  in  .senii- 
circular  recesses,  the  central  one  being 
occupied  by  the  doorwa\.  These  com- 
])artments  are  se[)arated  fruin  the  nave  and 
from  each  other  by  round  arches  resting 
on  columns,  as  is  done  in  the  little  chajiel 
at  Cividale  di  i'riuli  (q.r.),  which  is  like 
this  church  in  many  of  its  features.  A 
high  crypt  extends  uiuler  the  east  end  of 
the  church,  with  three  aisles,  divided  by 
columns  into  square  vaulted  bays  and 
lighted  by  narrow  wincbiws  in  the  east  and 
south  walls,  which,  owing  to  the  slope  of 
the  hillside,  are  entirely  above  ground. 
T'lie  round-arched  ciborium  as  well  as  the 
architectural  features  are  executed  in  stuc- 
co, of  much  delicacy  and  vigor,  as  at  Civi- 
tlale.  The  nave  has  a  Avooden  roof  and 
the  western  a]ise  a  semi-dome.  The  in- 
terior walls  and  vaults  were  covered  with 
ancient  paintings  in  good  preservation  a 
few  years  ago,  but  recently  covered  with 
whitewash. 
CIVIDALE   1)1    FRU'LI,  Italy. 

Sta.    M.vki.v    i.\    \'ai.i,i;.      This    little 


church,  of  snuili  importance  from  its  size, 
is  of  great  interest  from  its  antiquity  and 
from  certain  characteristic  features  in  its 
construction  and  decoration.  Its  })lan  is 
a  simple  rectangle  about  2{)  ft.  by  3'i  ft. 
Of  this  length,  two  thirds  are  given  to  the 
nave,  covered  by  a  single  groined  four- 
part  vault.  From  the  eastern  side  of  the 
nave  three  stilted  rouml  arches,  carried  on 
Corinthian  columns,  ojien  into  the  sanc- 
tuary four  steps  higher,  which  is  roofed 
with  three  narrow  barrel-vaults  ami  shut 
oft'  from  the  nave  by  a  low  marble  screen, 
with  an  oj)ening  in  the  centre.  At  the 
spring  of  the  vault  a  delicate  moulded  cor- 
nice was  carried  around  the  west,  north, 
and  soutli  walls  of  the  nave.  In  the  mid- 
dle of  the  front,  a  square  doorw'ay  is  cov- 
ered by  a  round  arch  with  an  elaborate  and 
lieautifully  decorated  archivolt,  .-springing 
from  columns  on  each  side,  of  which  only 
the  mutilated  capitals  rennnn.  Traces  of 
an  ancient  fresco  remain  in  the  tympanum. 
Above,  within  the  arch  of  the  vault,  is  a 


Fig.  48.— Cividale  di   Friuii,  S.  M.  in  Valle. 

lii'iiad  ri'iezc  (if  scul|iturc.  with  a  rdund- 
ai-ched  wimbiw  in  tlic  miilillc.  and  three 
lil'e-si/.t'd   figures   of  saints.      This    sculpt- 


cni'l'A-CASTELLAXA 

iircd  decoration  of  frieze,  cornice,  ami  aliout  11T"2,  Init  substantially  rebuilt  in 
arcliivolt  is  executed  with  great  delicacy  the  xvi  century.  The  ancient  crypt  re- 
in stucco,  portions  of  it  on  a  ground  of     mains,   as  also   a   reniai'kable  west  porch 


pale  blue  glass,  and  accentuated  at  certain 
points  by  bulbs  of  the  same  material. 
The  inner  walls  are  of  brick,  covered  with 
plaster,  and,  as  well  as  the  vaults  of  the 
sanctuary,  were  decorated  with  frescoes,  of 
which  portions  are  still  visible,  though 
much  dilapidated.  The  pavement  is  of 
marble.  The  history  of  the  monument  is 
somewhat  obscure.  Dartein  believes  the 
nave  to  have  been  a  Roman  temple,  and 
all  the  authorities  agree  that  when,  some 
time  in  the  viii  cent,,  a  monastery  was 
founded  by  a  duchess  of  Friuli  variously 
named  Gertrude  or  Piltrude,  this  building 
was  taken  as  its  chapel.  Its  insignificance 
has  saved  it.  In  its  present  use,  what  we 
have  called  the  nave  serves  as  a  choir,  and 
the  walls  are  surrounded  on  three  sides  by 
a  line  of  wooden  stalls  with  much  fine 
carving,  covered  by  a  continuous  cano])y. 
and  thought  by  Dartein  to  be  as  old  as  the 
xir  centurv.  (Sec  Fi(j.  J/S.) 
CIVITA-CASTELLAXA,  Italy. 

The   Cathedral  of  Sta.  ^Iahia  is  a 
basilican    church   dating   oris;iiiallv   from 


dating  from  I'llO.  composed  of  a  central 
round  arch  capped  by  a  semi-classic  entab- 
lature with  slender  angle  pilasters,  and 
flanked  by  galleries  supported  by  small 
Ionic  columns  and  covered  by  an  entabla- 
ture at  the  level  of  the  springing  of  the 
central  arch.  The  friezes  arc  decorated 
with  mosaic.  The  great  entrance  door- 
way under  the  porch  is  a  fine  feature — a 
rcamd  arch  in  three  orders  springing  from 
a  s([uare  pilaster  and  two  shafts  on  each 
side.  The  shafts  rest  on  lions.  The 
square  door-way  is  enclosed  in  a  band  of 
mosaic,  and  the  arch -head  contains  a 
half  rose.  This  porch  and  door-way  are 
among  the  liest  and  earliest  examples  of 
the  work  of  the  Roman  C'osmati,  so- 
callcil :  and  the  porch  bears  the  inscrip- 
tion :  .^AGISTER.  .JACOBUS.  CIVIS. 
ROMAXrS.  CUM.  COSMA.  FILIO. 
SUO.  FIERI.  FECrr.  HOC.  OPUS.  A. 
DM.  MCCX,  (See  Fi(/.  .'/>.) 
'CNIDUS  (Knidos),  Asia  Minor. 

The  ancient  Fohtificatiox  Walls  re- 
main  very   perfect ;  they   consist   of  two 


S3 


(  (M,(»MA 


iiuiiu  ,stivtfln-'s,  oiR'  niuiiiiii:'  cast  and  west, 
tlu'  otlier  north  and  sotitli.  and  nici'tiii-- 
on  a  liill  N.  E.  of  the  city  ;  the  former 
stretch  is  partly  in  Cyclopean  masonry, 
somewhat  rude,  the  latter  st retell  is  of 
good  Hellenic  masonry,  and  is  streugth- 
ene<l  by  several  towers.  There  is  a  partic- 
nlarlv  tine  circular  tower  at  the  end  of  the 
peninsula,  near  the  more  nortiiern  of  the 
two  liarbors. 

TiiEATKE,  of  large  size,  with  thirty-six 
tiers  of  .seats,  subdivided  by  two  preeine- 
tions  or  horizontal  passages  of  communi- 
cation. The  cavea  is  surrounded  above  by 
a  plain  concentric  wall,  and  remains  in  ex- 
cellent ])re.servation.  Its  diameter  is  400 
ft.  The  stage  structure  is  a  mass  of  ruins. 
There  are  also  on  the  site  a  smaller  theatre 
and  an  odeum. 

COLOXIA  JULIA.      See  SprlJo. 
COMO,  Italy. 

The  Bkoletto.  or  town-hall,  situated  in 
the  great  square  adjacent  to  the  Cathe- 
dral, is  a  small  building,  with  two  fronts 

^..^      (ill  oj)posite  sides,  the  first  story 
^      \     entirely  open,  forming  the  j)ublic 
ft^j      exchange   of    the    town.      Two 
I'anges   of   four  obtusely  pointed 


Fig.  50.— Como,  Broletto. 


arches  springing  from  low  dclagdiial  jiiers 
of  niarbk'  with  large  foliage  capilals  car- 
ry the  front  and  rear  walls  ;  a  third 
range  divides  the  interior  aiul  gives  a 
middle  bearing  to  the  llnm-  above.  Tlu' 
front  toward  tiie  great  square  is  banded  in 
black  and  white  marble.  The  second 
story,  divided  from  the  first  liy  an  arched 
corbel-table,  has  two  trij)le  windows  with 
niullion-shafts  under  jiointed  arches.  A 
third  central  arch  gives  access  to  the  bal- 
cony called  the  ringhiera.  peculiar  to  this 
class  of  buildings  in  A'orth  Italy,  from 
which  the  magistnites  were  accustomed  to 
address  the  people.  A  small  arcaded  cor- 
nice formerly  finished  the  composition, 
but  a  low  third  story  has  been  added  at 
some  recent  date.  A  massive  square  bell- 
tower  stands  at  the  angle  of  the  building, 
which  was  completed  in  \'ll'\.  (,sVr  Fu/. 
r>i>.) 

The  Catukukal  is  a  large  and  richly 
decorated  church  of  mixed  character,  be- 
gun in  139G  in  the  Eomancsque  style, 
which  was  soon  changed  to  Gothic,  and 
largely  rebuilt  in  l.")13-:il  by  Tommaso 
Rodari  or  Kotario.  in  the  style  of  tlie 
Kenaissance.  It  is  built  entirely  of  white 
marble.  The  three  divisions  of  the  west 
front  are  marked  by  flat  pilasters  terminat- 
ing in  square  pinnacles  above  the  roof, 
and  bearing  on  their  faces  rows  of  small 
niches,  one  above  another,  containing 
statues.  In  each  division  is  a  deep  round- 
arched  door-way,  with  a  t^'mpanum  chai'ged 
with  sculpture.  Above,  the  windows  are 
pointed,  with  traceried  heads.  Over  the 
central  door-way  is  a  row  of  cano])ied  niches 
with  statues,  and  a  fine  rose  above,  flanked 
liv  richly  decorated  niches  with  statues. 
The  central  division,  crowned  by  a  large 
and  liigh  ]iinnacle  of  singular  design,  is 
entirely  above  the  nave.  The  sides  of  the 
church  aiv  in  the  Cinrpu'-Cento  style, 
uitli  door-ways  ami  windows  decorated 
with  arabesques  and  jtortraits  in  bas-relief. 
the  wall  broken  by  buttres.ses  terminating 
in    piiiuaelcs.     The  central  cupola  is  also 


('():\r() 


liuiuiissaiice  in  stylo,  luiviug  been  built  in 
i'to'i,  with  an  Dctaiional  tambour  with 
eoluinns  at  the  anirles.  a  I'mmd-afched 
window  in  eaeii  face,  and  an  entablature 
and  attic  from  which  springs  an  octagonal 
dome  crowned  by  a  lantern.  The  interior 
shows  a  nave  and  two  aisles,  (lotliic  in 
character,  witli  a  vaulted  ceiling  restored 
in  1838,  Renaissance  transept  and  choir, 
the  latter  with  a  circular  end,  broken  by 
Corinthian  pilasters  with  two  stories  of 
windows  between.  The  circular  baptistery 
has  Ijeen  attributed  to  Branumtc. 

S.  Anuoxmu.  an  interesting  example  of 
an  early  Lombard  church  of  the  basilican 
type.  It  is  a  tive-aisled  church  about  80 
ft.  by  10.1  ft.  inside,  with  an  elongated 
choir  and  ajise  which  add  some  50  ft.  to 
this  length.  Externally,  the  church  is  of 
brick  of  extremely  simple  design.  The 
front  follows  the  outline  of  nave  and 
aisles,  and  the  wall  is  broken  by  a  square 
buttress  opposite  each  of  the  four  rows  of 
columns,  A  single  large  plain  iloorway 
with  square  ojiening  and  round  arcii  occu- 
2)ies  the  central  compartment.  <_)ver  it  is 
a  f)]ain  round-headed  window,  with  two 
simple  round-headed  windows  above.  On 
the  faces  of  the  buttresses  four  engaged 
columns  remain  of  a  large  porch  which 
projected  boldly  from  the  front,  a  rare 
feature  in  Italian  churches.  All  the  eaves 
are  ornamented  with  arched  corliel-tables. 
The  long  choir  is  as  high  as  the  nave.  Its 
wall  is  divitled  vertically  by  slender  en- 
gaged columns  ending  in  an  arched  corbel- 
table.  Two  tall  srpiare  canipanili,  exact- 
ly similar  iiml  of  simple  design,  flank  the 
choir  on  either  side  at  its  junction  with 
the  east  wall  of  the  church.  The  double 
aisles  give  the  interior  an  unusual  breadth. 
The  nave  is  in  six  bays,  of  which  the  west- 
ernmost has  a  gallery  at  mid  -  height 
which,  as  well  as  the  space  under  it,  is  cov- 
ered by  a  groined  vault,  the  remainder  of 
the  nave  and  the  aisles  being  covered  by 
wooden  roofs.  The  nave  is  flanked  by 
massive  round  piers  of  masonry  with  exag- 


gerated bases  and  rude  block  capitals  ;  the 
two  aisles  are  se2)arated  by  slender  mono- 
lithic columns  with  foliated  capitals. 
Kach  line  of  jiiers  and  columns  is  joined 
by  simple  round  arches,  carrying  a  clere- 
story with  a  single  narrow  window  in  each 
bay,  and  is  terminated  eastward  by  a 
massive  pier  forming  part  of  the  support 
of  the  campanili.  The  four  aisles  end 
here  in  square  compartments  covered 
with  groined  vaults  and  with  small  apses 
in  the  thickness  of  the  east  wall.  The 
long  choir.  o])ening  from  the  nave  by  a 
round  arch,  is  divided  into  two  oblong 
bays,  each  covered  by  a  four-part  vault, 
and  ends  in  the  semicircular  apse,  with 
its  hemispherical  vault  divided  by  ribs 
springing  from  vertical  shafts,  and  deco- 
rated with  frescoes  of  the  xv  century.  The 
present  church  dates  from  100."),  when  it 
was  consecrated  by  Pope  Urban  II.  It 
was  built  in  connection  with  a  convent  of 
Benedictines  founded  by  the  bishop  of 
C'omo  in  1013,  and  on  the  site  of  an  earlier 
basilica  of  which  the  foundations  and  the 
pavement  were  discovered  beneath  the 
liresent  church  in  1803.  The  pavemeitt 
of  the  old  church  is  about  two  feet  below 
the  present  floor,  and  some  of  its  stones 
have  inscriptions  showing  it  to  date  from 
the  V  century.  Up  to  the  ix  cent.  8.  Ab- 
bondio  was  the  Cathedral. 

S.  Carpofero,  a  rude  old  Lonilianl 
church  standing  on  the  slojie  of  a  moun- 
tain south  of  Como.  The  exterior  is  ex- 
tremely simple,  the  west  front  half-buried 
in  the  rocky  hillside.  The  eastern  apse  is 
}iolygonal  in  its  external  outline  up  to  the 
tloor  of  the  choir,  where  it  becomes  circu- 
lar, with  engaged  shafts  over  each  angle 
of  the  \vall  below,  ending  in  an  arched 
corbel-table,  the  bays  thus  formed  being 
occupied  alternately  by  a  round-arched 
window  with  angle  shafts,  and  a  small  cir- 
cular window,  A  tall  square  campanile  is 
attached  to  the  south  wall  of  the  choir. 
The  interior  has  a  nave  and  ai.sles  about 
90  ft.  long,  the  nave  about  30  ft.  wide,  the 


COMO 


aisles  15  ft.,  perfectly  plain  sqiiare  jiiers 
at  various  distauees,  and  mmiil  arches  ab- 
solutely plain,  of  various  sizes,  supportinij 
a  clerestory  wall.  'I'he  walls  of  aisles  and 
clerestory  are  pierced  with  small,  nari'ow, 
round  -  arched  windows.  The  transept 
ai'ins  open  from  the  nave  on  either  side 
witii  a  single  broad  and  high  round  arch, 
at  :ibout  one-third  the  distance  from  the 
west  front  to  the  choir  ;  a  singular  ar- 
rangement, perhaps  due  to  the  inaccessi- 
bility of  the  west  end,  making  the  south 
end  of  the  transept  the  principal  and  en- 
trance front.  Two  round  arches  span  the 
nave  in  continuation  of  the  walls  of  the 
transept.  The  nave,  aisles,  and  transept 
were  all  covered  with  wooden  roofs  of  low 
jiitch.  but  the  nave  is  now  barrel-vaulted. 
The  choir  consists  of  a  single  square  liay. 
covered  by  a  four  -  jjart  vault,  and  a 
round  apse  with  a  semi -dome,  dating 
from  10-lU.  Beside  the  choir  a  small 
groined  chapel  terminates  the  north  aisle, 
with  a  small  apse  in  tlie  thickness  of  the 
east  wall.  The  corresponding  space  on 
the  south  side  is  occupied  by  the  cam- 
panile. The  floor  of  the  choir,  rai.sed  some 
nine  feet  above  the  nave,  is  approached  l)y 
two  staircases,  between  which  a  third  de- 
scends to  a  fine  cry]it  beneath  the  choir, 
the  only  j)ortion  of  the  church  which  has 
been  adorned.  It  is  divided  into  three 
vaulted  aisles  by  columns  with  foliage 
ca])itals  carrying  stilted  mund  arches, 
'i'he  east  end  repeats  the  apse  (if  the  choir 
with  the  addition  of  three  niches,  in 
which  are  small  windows.  A  small  sjjjral 
stair  in  the  angle  of  the  north  wall  con- 
nects the  crypt  witli  the  chapel  terminat- 
ing the  nortl)  aisle.  The  church  stands 
on  the  site  (if  an  older  one  founded  by  St. 
Felix,  which  served  for  a  time  as  the 
cathedral.  The  ])resent  church  dates 
mostly  from  the  \i  cent.,  the  apse  having 
probably  been  added  a  century  latei-. 

S.  Fedei.R,  a  curious  Lombard  cluircli 
of  the  xin  cent.,  much  modernized  but 
substantially  unchanged  in  jilan  and  con- 


struction. The  jilan  is  peculiar,  composed 
of  a  nave  about  30  ft.  broad  in  four  oblong 
bays  of  unequal  length  ;  octagonal-ended 
transept-ends  ;  a  choir  of  a  single  oljlong 
bay,  termiiuiting  in  a  polygonal  apse  with 
a  raised  floor;  and  a  somewhat  elongated 
octagonal  dome  at  the  crossing.  The 
aisles  are  in  two  low  stories,  carried  around 
the  transei)t-arnis  to  the  oblong  liay  of  the 
choir,  and  sejiarated  from  the  luive  and 
transept  by  two  ranges  of  round  arches 
siDringing  from  simple  luive  i)iers  witii  a 
cruciform  jilan.  The  nave  has  a  barrel- 
vault,  but  the  aisles  are  covered  in  each 
story  with  four-part  vaulting.  The  vault- 
ing bays  of  the  transept-aisles  are  alter- 
nately square  and  triangular,  the  square 
bays  corresponding  to  the  arches,  tlu'  tri- 
angular bays  to  the  piers,  and  the  en- 
closing wall  of  the  aisle  has  twice  as  many 
sides  as  the  octagonal  transept.  Tliis  is 
the  arrangement  of  Charlemagne's  chapel 
at  Aix-la-Chaj)elle  and  of  the  Rotonda  at 
Brescia.  In  the  upper  aisles  the  same  ar- 
rangement of  vaulting  prevails,  but  the 
vaults  are  inclined  upward  from  the  outer 
walls  to  those  of  the  clerestory.  The  stone 
roof-covering  is  laid  directly  oil  the  masonry 
of  the  vaults,  and  tlie  nave  is  the  oidy  por- 
tion of  the  church  which  has  a  wooden  roof. 
Tile  central  cupola  is  built  on  jjendentives 
from  four  great  arches  at  the  crossing,  and 
against  the  walls  abut  the  octagonal  vaults 
of  the  transept  and  the  barrel-vaults  of 
the  nave  and  choir.  The  interior  design 
of  the  apse  is  unique.  It  is  in  three 
stories,  the  first  having  a  semicircular 
niche  in  each  face,  with  a  small  window, 
and  slender  angle-shafts  ;  the  second  an 
arcade(l  gallery,  with  a  single  ronnd  arch 
in  each  face:  the  tliii'il  a  plain  "all  with 
ujirrow  windows,  much  spayed  without. 
A  simple  nniulded  cornice  finishes  this 
wall,  and  I'lMni  it  spi'ings  the  polygonal 
vault.  The  exterior  is  e(|ually  interesting, 
in  two  stories  the  angles  are  nuiskcd  by 
strong  coliiuins.  'i'hc  third  story  is  an 
oj)en    gallery    with    two    round  arches    to 


COXSTAXTIXOI'LE 


eucli  fare,  each  arch  Ijeiiijj;  the  end  of  a 
barrel-vault,  of  which  the  other  end  al)ut.s 
oil  the  interior  wall  of  the  gallery.     .Miove 


Fig.  51.— Como,  S.  Fedele,  Apse. 

is  an  arcaded  cornice.  The  church  had 
originally  an  atrium,  which  has  disap- 
peared. The  foundation  dates  from  'Jl-t. 
but  it  was  rebuilt  in  12G2.  Mothes  pre- 
sumes the  apse  to  be  a  portion  of  the 
original  structure.  {See  FUj.  51.) 
cdxSTAXTIXOPLE  (Stamboul.  anc. 
Byzantium),  Turkey. 
Aqueduct  of  V.\.lex8,  cros.siiig  the 
valley  between  the  third  and  fourth  hills; 
finished  in  378  a.d.  It  is  about  2,000  ft. 
long,  and  To  ft.  higli.  and  consists  of  two 
tiers  of  round  arches,   those  of  the  lower 


tier  -Vl  ft.  high,  those  of  the  upper  37  ft. 
The  sj)an  of  the  arches  is  about  30  ft. 
The  masonry  is  densely  covered  with  ivy, 
which  adds  greatly  to  the  iiicturesqueness 
of  the  effect. 

Basilica  Keservdii!,  called  by  the 
Turks  Yeri  -  Batan  -  Serai  —  the  I'lider- 
ground  Palace.  It  was  founded  by  (Jon- 
stautine  the  Great  and  restored  by  Justin- 
ian, and  is  still  in  use.  The  entrance  is 
near  Sta.  8otia.  The  dimensions  are  about 
3(J0  ft.  by  19.1  ft.,  and  tliere  are  three  hun- 
dred and  thirty-six  columns,  about  3'J  ft. 
high,  in  twenty-eight  rows,  supporting 
brick  vaults.  The  capitals  are  in  part  Cor- 
inthian, in  part  of  other  orders,  or  rough. 

BcRXT  CoLf.MX.     See  (Ji)liiinii  of  Cvii- 

.s/fUltilif. 

The  great  Cistern,  believed  to  be  the 
famous  cistern  of  Philoxenos,  called  by 
the  Turks  Ben-Bir-i)irek,  or  the  hall  of  a 
thousand  and  one  columns,  is  now  used  as 
a  hall  for  winding  silk.  It  has,  or  had, 
three  stories  of  columns  in  fourteen  rows 
of  fifteen  each,  carrying  stone  vaults.  It 
is  of  special  significance  in  the  history  of 
architecture  if,  as  is  believed,  it  was  built 
by  Philoxenos,  under  Constantine,  in  the 
IV  cent.,  for  it  gives  then  the  earliest 
known  example  of  the  so-called  cubic 
capital,  which  was  a  striking  characteris- 
tic of  Lombard  architecture  for  centuries. 

Column  of  Arcadius,  formerly  in  the 
Forum  of  Arcadius,  now  enclosed  in  pri- 
vate property  near  the  locality  called 
Avret-Bazar.  It  resembled  the  Column 
of  Trajan  at  Rome,  and  the  shaft  Wds 
carved  with  reliefs  illustrating  the  wars  of 
Theodosius.  It  was  about  115  ft.  high. 
It  was  overthrown  by  an  earthquake  in 
740  A.D.  The  pedestal,  about  20  ft.  liigh. 
and  a  fragment  of  the  shaft,  still  stand. 
In  the  pedestal  is  a  sepulchral  chamber, 
with  a  niche  and  a  sculptured  ceiling,  and 
the  beginning  of  the  stairs  by  which  the 
column  was  ascended. 

Column  of  Coxstantixe,  also  called 
Column    of     Porphyry,  Burnt    Column, 


87 


CONSTANT  I  Xol'l.K 


ami  OJL'iubrrli  -  Tacli.  staiidiiiif  uu  tlir 
summit  of  the  second  hill.  According 
to  tradition  it  was  Ijrouijht  from  Konie  1)y 
C'onsiantinc,  and  the  Palladium  was  buried 
under  it.  It  consisted  originally  of  nine 
drums,  set  one  into  another  and  carve<l  at 
the  Joints  with  wreaths  of  laurel,  so  that 
it  had  the  ap])eavance  of  a  monolith,  and 
attained  a  height  of  about  iW  ft.  It 
was  surmounted  by  a  bi'oiize  statue  of 
Apollo,  till'  head  of  which  t'onstantine  re- 
placed by  his  own.  J)uring  the  reign  of 
Alexis  Comnenus,  the  statue  and  the 
ujjper  part  of  the  column  were  thrown 
down  by  lightning  ;  it  was  restored  to  re- 
ceive a  cross  and  the  name  of  flannel 
Comnenus.  Six  drums  now  remain,  and 
rise  to  the  height  of  nearly  115  ft. 

Column  of  M.viician,  called  Kiz-Tach 
by  the  Turks,  near  the  Mosque  of  Mah- 
moud  Pasha,  in  iirivate  property.  It  is 
of  white  marble,  about  33  ft.  high,  with 
a  composite  cajiital  on  which  is  a  block 
with  eagles  at  the  four  angles,  which 
formerly  sujiported  the  statue  of  the  em- 
peror Marcian.  The  pedestal  of  the  col- 
umn has  wreaths  on  three  sides,  and  on 
the  fourth  a  dedicatoi'y  insci'ijition  be- 
tween two  winged  figures. 

Column  or  the  Sicki'knts,  one  of  the 
most  famous  relics  of  anti(|uity.  ])art  of  the 
monument  erected  before  the  Temple  of 
.\])olloat  Delphi  in  commemoration  of  the 
(Jreek  viiim-y  over  the  Persians  at  Plat*a. 
in  47i>  II. c.  It  supported  a  tripod  of  gold, 
which  was  taken  by  the  Phocians  for  tlieir 
war  expenses,  liut  the  column  remained  in 
|ilace  at  Dcliihi  until  Constantine  brought 
it  to  Constantinople  to  place  it  in  the 
spina  of  the  Hippodrome.  It  consists  of 
three  intertwiTied  serjients  of  Iji-onze,  upon 
the  widi'ly  diverging  heads  of  which  tli(> 
tri])od  rested.  The  heads  were  broken  otV 
and  stolen  by  night,  about  1700.  The 
nanu'sof  the  (Jreek  peoples  who  fought  the 
bai'bai'ian  are  inscribed  on  the  coils  of  the 
serpents.  IVoiii  the  tliii'd  lo  the  thirteenth, 
foi'niiiig  one  of   the  chief  epigrapliie  docu- 


ments of  history.  Twenty-nine  coils  re- 
main in  the  column,  which  rises  to  the 
height  of  IS  ft.  The  upper  jaw  of  one  of 
the  heads  is  in  the  ^fuseum  at  Constanti- 
no)ile. 

Column  uv  Theudosiu.s,  in  the  gar- 
dens of  the  Serai,  or  Imperial  Palace.  It 
is  in  gray  granite,  about  4'.)  ft.  high,  and 
has  a  Corinthian  cajiital.  The  jiedestal 
bears  an  inscri])tion  commemorating  the 
overthrow  of  the  (ioths. 

The  (ioLDEX  Cath.  near  the  south  viul 
of  the  Walls  (jf  Theodosius,  lies  between 
two  enormous,  massive,  square  towers  of 
white  marble,  preceded  by  a  court  formed 
liy  an  outward  inflection  of  the  exterior 
wall.  It  consists  of  three  openings — a 
great  archway  in  the  middle  which  w'as 
reserved  foi-  the  ])assage  of  the  emperor, 
with  a  smaller  one  on  each  side — and  is 
now  walled  up,  owing  to  a  Turkish  ])ropli- 
ecy  that  the  future  conf|ueror  of  Con- 
stantinople sliall  pass  through  it.  The 
towers  wei'i'  oi'iginally  ornamented  with 
sculpture.  A  l>yzantine  eagle  still  re- 
mains on  that  to  till'  noi'th.  See  also 
Wa/Zs. 

Hall  oi'  a  iikhswh  and  ost:  Col- 
umns.     See  (Ireat  Cifitcni. 

The  lIlCMDOMOX  is  an  ancient  l'>y/.antiue 
huilding,  dating  priibably  from  the  first 
half  of  the  ix  cent.,  and  occupying  a  part 
of  the  site  of  a  i)alace  built  by  Constantine. 
of  which  some  authorities  have  believeil  if, 
to  l)e  a  ]ioi1  ion.  'i'he  l)uilding  is  of  three 
stories.  coMM-iug  the  breadth  between  the 
outer  and  iinu-r  city  walls,  but  rising  far 
above  thenu  'i'he  lowest  story  has  in  the 
interior  two  rows  of  three  columns  each, 
with  Ryzantiue  cajiitals  of  various  design, 
some  of  them  of  much  elegance,  joined  by 
arches  in  two  directions,  which  divide  the 
space  into  twelve  s(|uare  groined  bays, 
'i'his  storv  has  openings  only  on  one  side — 
four  round  arches  in  pairs,  the  pairs  sepa- 
rated by  a  sfpnire  ])ier  in  the  middle  of  the 
wall,  and  (|i\i(|ed  each  by  I\mi  slender  col- 
iiunis  e<iu|iled  in  the  thickness  of  the  wall. 


S8 


CONS'l'AXTIXOPLE 


Above  a  low  second  story,  witli  single 
rouud-arclied  windows,  is  a  £;reat  undi- 
vided hall  oo  ft.  by  74  ft.,  and  -^0  ft.  high. 
of  which  nothing  rLMiiains  l)iit  tiie  enclos- 
ing walls.  These  are  faced  on  all  four 
sides  with  an  arcade  of  round  arches  en- 
closing windows,  arched  and  square.  The 
walls  are  of  brick,  with  bands  of  yellowish 
marble,  and  varied  by  geometrical  patterns 
of  much  beauty  in  the  arches  and  span- 
drels. Narrow  bands  of  copper  follow  the 
lines  of  the  arches.  The  columns  are  of 
white  marble.  The  ends  of  tiie  building 
finish  with  very  flat  stepped  gables. 

Hippodrome,  occupying  the  modern 
At-Meidau  area,  beyond  Sta.  Sofia.  The 
yerpent-Column,  the  Obelisk  of  Theodo- 
sius,  and  the  Colossus  Pyramid  mark  the 
axis  of  the  spina  in  the  middle  of  the 
arena,  whose  ancient  surface  is  now  12  ft. 


deep,  making  a  rectangle  of  about  'HO  ft.  by 
4-2()  ft.  It  is  situated  in  the  At-Meidan  or 
Ilipjiodrome,  and  dates  from  the  xvii  cen- 
tury. Tiie  court  has  arcades  on  all  four 
sides,  each  bay  covered  by  a  low  dome, 
tliree  entrance  gate.s,  and  in  the  middle  an 
ornamental  fountain.  There  is  a  tall  and 
slender  minaret  at  each  corner  of  the 
mosque,  and  of  the  court — six  in  all.  Four 
enormous  channelled  piers,  more  than 
IJO  ft.  in  diameter,  carry  the  central  dome, 
on  four  great  pointed  arches,  against 
which  lie  four  semidomes,  making  a 
(xreek  cross ;  and  in  its  angles,  at  the 
t'orners  of  the  mosque,  are  four  small 
domes.  Galleries,  carried  by  ranges  of 
columns,  cross  the  ends  of  the  transept, 
both  inside  and  between  the  great  but- 
tresses without.  The  walls  have  a  marlile 
dado,  and  are  decorated    with   arabesqixes 


underground.  A  series  of  enormous  vaults,     and  inscriptions,  obscured   by  whitewash. 

The  windows  are  tilled  with  clear  glass. 
The  milirdh.  or  iirayer-niche,  faced  with 
agate,  jasper,  and  other  costly  stones, 
covers  a  precious  relic  in  a  piece  of  the 


resting  on  huge  })illars.  constitute  the  sub- 
structions of  the  terrace  built  by  Septimius 
Severus  to  increase  the  area  of  the  arena. 
These  vaults  were  once  utilized  as  a  reser- 
voir. The  length  of  the 
Hippodrome  was  about 
1,-lOOft.,  its  breadth,  400 
ft.  The  exterior  was 
formed  of  superposed 
tiers  of  brick  arches, 
faced  by  a  Corinthian 
colonnade  in  marble. 
Between  119.5  and  T^Oo 
the  last  races  were  held 
in  the  Hippodrome,  in 
presence  of  the  emjieror. 
and  in  the  decrepit  are- 
na, on  the  night  before 
May  29.  14.53,  Constan- 
tine  PalEeologus  gath- 
ered his  shattered  troops 
for  the  last  struggle  with 
the  Turks. 

Mosque   of   Ahmed, 
the  largest  mosque  in  Constantinople  (not     holy  black  stone  from  the  Kaaba  at  Mecca, 
counting  Sta.  Sofia),  a  building  some  240     The  elaborate /«//y//w;'.  or  pulpit,  isof  stone, 
ft.  square,  preceded  by  a  forecourt  nearly  as     patterned  after  that  at   Mecca.      This  is 

89 


Fig.  52.— Constantinople,  Mosque  ol  Ahmed. 


CONSTAN'I'IXOl'LI 


the  mosque  of  stute  of  the  Sultans  of  Cou- 
stiintinopU'.  and  contains  also  the  Standard 
of  the  I'ropliet,  which  is  never  unfurled 
except  at  critical  moments  iu  the  history 
of  the  em})ire.  Xear  by  is  the  tomb  of 
the  founder.  Ahmed  1.,  who  began  the 
mosque  in  l(i()8.      {Sec  Firj.  52.) 

Mosyrio  OK  Evri!.  A  w  cent,  mosque, 
situated  in  a  suhurli  at  the  head  of  the 
Golden  Horn.  It  is  built  of  marble, 
the  exterior  very  plain,  with  a  single  don^e 
surrounded  Ijy  four  minarets.  The  win- 
dows are  filled  with  gilded  lattice-work. 
The  interior  is  lined  with  marble,  and  con- 
tains the  tomb  of  Eyub,  the  companion 
and  standard -l)earer  of  Mohammed,  killed 
during  the  drst  Arabic  siege  of  Constanti- 
nople in  the  vii  cent,  and  buried  outside 
the  walls,  Mohammed  II.  (1451-81)  to 
whom  the  position  of  his  grave  was  re- 
vealed, built  tlic  mosque  in  the  xv  cen- 
tury. It  is  held  peculiarly  sacred  by  the 
Turks,  and  is  the  place  of  consecration 
of  the  Sultans.     It  is  closed  to  Christians. 

Mo.sQLK  OF  Mou.iJi.MED.  A  XV  cent, 
mosque,  modelled  approximately  after  the 
church  of  Sta.  Sofia.  There  is  a  forecourt, 
and  behind  the  niihrab  a  garden,  con- 
taining the  tombs  of  Mohammed  II.  and 
his  family.  The  court  has  cloisters  on 
three  sides,  supported  on  marble  and 
granite  columns,  and  each  bay  roofed 
with  a  lead-covered  dome.  In  the  cen- 
tre is  the  usual  fountain.  The  interior 
decoration  is  in  the  style  of  the  other 
Turkish  mosques.  The  mosque,  founded 
by  .Mohammed  II.,  the  conqueror  of  Con- 
stantinople, in  1-1.53,  stands  on  a  high  ter- 
race upon  the  highest  hill  in  the  city,  and 
occupies  tlio  site  of  .Justinian's  Church  of 
the  Apostles,  which  was  jmlled  down  to 
make  way  for  it.  It  was  designcil  l)y  a 
(ireek  architect  and  finished  in  l-liji).  In 
1703  an  earthquake  greatly  injured  it. 
The  repairs  were  made  in  the  quasi-Italian 
style  of  the  perictd,  in  which  the  original 
asjpectof  the  nios(|uc  is  quite  lost.  Con- 
nected with  it  arc  cii,dit  Turkish  colleges. 


.Mo.syrE  01--  UsMAX,  built  by  Sultan 
Osman  III.,  in  175.5,  a  square  covered  bv 
a  large  central  dome,  Hanked  by  two  min- 
arets, and  supported  on  four  great  arches. 
These  arc  tilleil  by  screen  walls,  which  are 
pierced  by  nnind-headed  windows  filled 
with  tracery.  In  front  is  an  octagonal 
court,  surrounded  by  an  arcade  of  horse- 
shoe arches  carried  on  high,  slender  pil- 
lars. Cross  arches  separate  the  bays,  wliich 
are  crowned  by  domes  on  circular  drums 
pierced  by  arched  openings.  In  the  outer 
walls  are  long,  trefoil-headed  windows. 
Lighted  as  it  is,  the  Turks  call  the  moscpie 
Nur  Osmaidi,  or  the  Lantern  of  Osman. 

^losQUp;  oi"  Sri.?;i.MAN'.  .V  wi  cent, 
mosque,  built  by  Sultan  Suleiman  II.  In 
front  is  a  forecourt  1.5(1  ft.  by  190  ft.  in- 
ternally, and  at  the  i-ear  is  a  garden  court 
containing  the  tombs  of  the  founder  and 
members  of  his  family.  It  is  substantial- 
ly like  Sta.  Sofia  in  plan,  though  of  differ- 
ent proportion,  l)eing  nearly  square,  'lOb  ft. 
by  a--i5  ft.  outside.  The  great  dome,  stand- 
ing on  four  piers,  is  abutted  in  front  and 
rear  by  half-domes,  as  in  Sta.  Sofia,  the 
three  together  covering  the  nave.  The 
side-aisles  are  sulidivitled  into  five  bays, 
each  covered  with  a  small  doinc.  and  arc 
.separated  from  tlie  nave  by  triple  arcades 
on  columns  of  porphyry  35  ft.  high.  These 
carry  screens  perforated  with  windows,  fill- 
ing the  side  pier-arches,  as  in  Sta.  Sofia, 
aiul  serving  as  clerestories.  Against  the 
aisle-w'all  is  a  low  arcade  carrying  a  gal- 
lery. The  central  dome  is  SO  ft.  in  diam- 
eter interiudly.  and  150  ft.  high.  Kanges 
of  windows  at  the  base  of  each  dome 
and  in  the  walls  light  the  interior.  The 
mosque  is  stuccoed  on  the  outside,  and  the 
dome  covered  with  lead.  The  fa(;ade  is 
adorned  with  six  immense  and  beautiful 
pillars  of  Egyptian  porjihyry,  and  there 
is  a  minaret  at  each  corner  of  the  court, 
tall,  slender,  and  crowned  by  a  high  coni- 
cal roof.  All  the  arches  are  jioiuted. 
but  the  windows  in  the  lower  story 
are    mostly    square  -  headed.      The   arcade 


COXSTAX'l'IXOPLE 


whiuh  fiicloses  tlie  courtyard  is  siipjjort- 
ed  on  colunuiii  of  Eiijyptian  granite  and 
marble.  Each  bay  lia.sa  low  dome  crowned 
bv  a  pinnacle.  In  the  centre  is  an  elabo- 
rate fonntain.  The  tomb  of  Suleiman  in 
the  rear  court  is  a  domed  octagon,  40  ft. 
in  diameter.  Iniilt  of  colored  marbles  and 
surrounded  l)y  an  aisle.  The  mosque  was 
designed  bv  the  Sultan's  famous  architect 
Sinan.  and  built  lietween  the  years  1,5.5(1 
and  1.5.5.5.  of  materials  mostly  taken  from 
the  large  Christian  chxxrch  of  St.  Eu])he- 
mia  at  Chalcedon.  It  is  simple  in  detail, 
but  of  fine  effect  :  mucii  smaller  than  its 
prototype,  but  of  loftier  proportion,  as  nat- 
urally follows  the  use  of  the  pointed  arch. 

Obelisk  op  Theodosius,  brought  from 
Heliopolis,  in  Lower  Egypt,  by  the  Emper- 
or Julian,  and  set  up  by  Theodosius  in 
390  A.D.,  in  the  centre  of  the  spina  of  the 
Hippodrome.  It  is  a  monolith  of  pink 
Syeue  granite,  about  61  ft.  high  and  0  ft. 
square  at  the  base,  inscribed  with  hiero- 
glyf)hs  on  its  four  faces.  The  four 
angles  of  the  base  rest  on  four  cubes  of 
bronze  1|  ft.  square,  on  a  pedestal  of  mar- 
ble carved  with  rather  rough  reliefs  reji- 
reseuting  Theodosius  and  his  court  and 
the  machinery  used  in  the  erection  of  the 
obelisk.  The  total  height  of  the  jjedestal 
is  1.5  ft.  The  apex  of  the  obelisk  upheld 
a  sphere  of  copper,  which  was  tlirowm 
down  and  broken  by  an  earthquake.  The 
inscriptions  show  this  obeli.sk  to  be  the 
first  one  quarried  under  Thotlimes  III. 

The  Paxtokkator,  or  the  Church  of 
The  Omnipotent,  now  used  as  a  mosque 
under  the  name  of  the  Kilissi  Jami.  was 
built  in  the  first  half  of  the  xii  cent,  by 
Irene,  wife  of  the  emperor  John  Com- 
nenus.  It  is  really  an  agglomerate  of  two 
small  twin  churches  set  side  by  side,  and 
connected  by  an  additional  nave  which 
separates  their  adjoining  aisles.  This 
makes  a  rectangular  building  about  150  ft. 
across  from  north  to  south,  and  80  ft.  deep 
from  east  to  west,  consisting  of  three 
naves,  and  the  four  aisles  that  flank  and 


separate  them,  ending  in  seven  eastern 
apses.  The  twin  churches  are  of  a  com- 
mon Byzantine  2)lan.  eacli  being  a  (Jreek 
cross,  with  wagon-vaulted  arms  and  a  cen- 
tral dome,  the  re-entrant  angles  filled  out 
to  a  s(iuare  and  covered  with  small  domes. 
Before  the  southern  church  is  a  great  nar- 
thex  of  ten  vaulted  bays.  The  ajises  are 
polygonal  without ;  those  of  the  three 
naves  have  seven  sides.  The  eight  great 
columns  which,  according  to  Oyllius,  up 
to  the  XVII  cent,  carried  the  principal 
domes,  have  been  replaced  by  Turkish 
piers.  Parts  of  the  hand.some  old  marble 
p.ivement  are  still  left. 

liESEKVOIR  OV  THE  PaTHK'IAX    MoDES- 

Tus,  built  in  3(19  a.d.  It  is  large,  with 
sixty  columns  and  good  cajntals.  It  is 
now  closed,  but  the  interior  can  be  seen 
by  a  grating  near  the  Bondronm  Mosque. 

Reservoir  of  Arcadius,  near  the 
Mosque  of  Selim.  It  is  one  of  the  best 
preserved  of  the  ancient  reservoirs  of  Con- 
stantinople, and  is  not,  like  most,  entirely 
underground.  It  rises  to  a  height  of 
about  17  ft.  above  the  surface,  and  luis 
about  the  same  depth  below.  The  exterior 
w.dl  is  very  thick  ;  it  has  two  round- 
arched  windows  and  a  door  which  is  ap- 
proached by  a  flight  of  steps.  The  vaults 
are  supported  on  twenty-eight  columns  in 
two  ranges,  with  handsome  Corinthian 
capitals.  This  reservoii"  is  now  entirely 
dry  and  is  occupied  by  silk-weavers. 

Reservoir  of  Tiieodosiu.s,  close  be- 
hind the  reservoir  or  Hall  of  a  thousand 
and  one  Columns.  It  is  138  ft.  long  and 
T.5  ft.  wide,  and  contains  thirty-three  beau- 
tiful columns. 

St.  Irexe,  originally  built  by  Constan- 
tine,  and  burned  with  the  old  Sta.  Sofia 
early  in  Justinian's  reign,  was  rebuilt  by 
Justinian,  and  after  being  shattered  by  an 
earthquake,  under  Leo  the  Isaurian  in  the 
first  half  of  the  viii  cent.,  was  rebuilt, 
probably  in  the  form  in  which  we  now  see 
it.  It  is  now  a  Turkish  arsenal.  Its  plan 
is  a  rectangle  about  1-tO  ft.  bv  90  ft.,  indud- 


CONSTANTINOPLE 


iiig  ;i  great  luive  of  two  bays.  The  square 
easteru  bay  is  covered  by  a  main  dome  on 
a  drniii.  supported  1)V  peudentivos  on  four 
piers.  The  shorter  western  bay  has  a  low 
dome,  of  elliptical  plan,  without  a  drum. 
Tiu'  nave  is  prolonged  eastward  in  a  sanc- 
tuary under  a  tunnel-vault,  ending  in  an 
apse,  round  within  and  semi-octagonal  with- 
out. These  bays  are  stayed  on  each  .side 
by  aisle-bays,  with  transverse  tunnel-vaults 
which  run  through  the  walls,  and  show  on 
the  outside  as  gre;it  arches  tilled  with  screen 


cent.,  said  to  have  been  Ijuilt  by  Studios  in 
463  for  a  convent  of  Silent  Monks,  and  jier- 
haps  the  oldest  existing  Byzantine  clinrch, 
is  iu)W  a  mosque.  It  is  a  three -aisled 
basilica,  about  85  ft.  by  125  ft.,  with  an 
open  iiarthex,  women's  galleries  over  the 
aisles,  and  a  single  eastern  apse,  round 
within  and  semi-octagonal  without.  The 
nave  is  unusually  wiile — some  48  ft. — and 
was  pi'dbalily  covercil.  as  it  now  is.  by  an 
oiien-timbered  roof.  It  is  bordered  Ijy  two 
ranges  of  supei'posed   columns  :  the  lower 


•*•«« 


Fig,  53. — Constantinople,  St.  hene. 


walls  pieroed  by  many  windows.  The 
great  .side-arches  within  ai'e  half- til  led  with 
a  range  of  small  arches  on  scpiare  piers. 
which  carry  a  women's  gallery  over  the 
aisles.  This  gallery  on  eacli  .side  com- 
municates with  the  second  story  of  a  nar- 
thex.  which  crosses  the  west  eiul  of  the 
ehunh.     Tiie  drum  of  the  main  dome  is 


range,  Corinthian,  carrying  a  lintel  and 
cornice  that  support  the  gallery  llonr. 
The  upper  range  is  now  of  wood,  but  the 
original  marble  colunnis  sujiporting  an 
arcade  were  seen  as  late  as  18(19  by  Choi- 
seul  (louftier.  'i'wo  liei's  of  windows  light 
the  clnireh  through  the  aisles.  The  clere- 
story,  if  there  was  one,  is  disiilaecd  liy  a 


pierced  by  twenty  wiiulows  with  buttresses     single-i)iteheil     roof   covering   the    whole. 

between.     The  walls   outside   are    stri)ied 

liorizontallv  with   brii-k  and   mai'lile;    the 

inside  is  severely  plain,  and  relieved  only 

by  one  or  two  string-courses  of   marble. 

{See  Fig.  53.) 

St.  .ToiTX's,    a   small    church    of  the  v 


The  narthcx  is  an  o])en  tetrastyle  ]]orch, 
with  a.  complete  I'nlablalui'c.  Ia\ishlv  <le- 
corated  with  carving  in  all  its  members. 
The  style  is  transitional  between  classical 
anil  l>vzantiiic.  and  the  W(irknianshij)  ad- 
mii'able. 


'M 


CONSTANTINOPLE 


SS.  Sergil's  .VXD  Bacctiis,  the  fore- 
runner of  Sta.  Sofia,  founded  under  Jus- 
tinian in  527.  consists  of  a  central  octagon, 
much  like  thai  of  S.  Vitale  in  Kavenna, 
but  set  in  a  square,  resting  on  eight  piers 
and  arches,  and  covered  by  a  low  dome 
of  55  ft.  span.  High  round  niches  open 
from  the  diagonal  faces  of  the  octagon, 
their  walls  pierced  by  tri])Ie  arches  in  two 
stories,  as  at  S.  Vitale.  Flat  screen  walls 
repeat  the  same  treatment  in  the  cardinal 
arches,  except  the  eastern,  which  opens 
into  the  sanctuary,  which  ends  in  an  apse 
of  Byzantine  form  that  protrudes  through 
the  outer  wall.  The  lower  range  of  col- 
nmns  bears  a  complete  entablature,  which 
encircles  the  piers  also,  the  upper  columns 
carrying  arches.  The  space  between  the 
octagon  and  the  surrounding  square  forms 
an  aisle,  the  second  story  of  which,  cor- 
responding to  the  uf)per  range  of  columns, 
is  a  women's  gallery  {(/i/iuereu/ti).  The 
dome  is  of  singular  construction,  with 
fluted  or  scolloped  section,  so  that  the 
exterior  looks  like  half  a  melon.  To  tlie 
flutings  correspond  lunettes  at  the  base, 
every  other  one  of  which  is  pierced  by  a 
window.  'I'he  front  is  crossed  by  a  n;ir- 
thex  in  two  stories,  the  upper  communi- 
cating with  the  gynjeceum.  The  detail 
is  early  Byzantine,  the  t'apitals  and  entab- 
latures richly  carved,  tlie  former  mostly 
with  stilt-blocks  and  of  pseudo-Ionic  form. 
The  church  contains  an  inscription  com- 
memorating its  foundation  by  Justinian 
and  Theodora.  It  was  converted  into  a 
mosque  by  Mohammed  II.,  and  so  re- 
mains, being  called  by  the  Turks  the  little 
Sta.  Sofia. 

Sta.  S()1-ta  (St.  Soi>hia.  Turkish  Aya 
Sofia),  the  boast  of  the  Emperor  .Justinian, 
who  built  it,  and  the  greatest  of  all  the 
Byzantine  churches,  perhaps  of  all  Chris- 
tian churches,  is  now  the  chief  mosque  of 
Constantinojjle,  and  therefore  of  all  Islam. 
It  covers  an  enormous  rectangle  about  245 
ft.  by  225  ft.  inside  the  walls.  Within  the 
mass   of   brickwork,  lately   stuccoed   and 


striped  red  and  white,  which  covers  this 
area  the  ehurcli  may  be  said  to  be  con- 
cealed, for  the  towering  outer  walls,  more 
than  a  iiundred  feet  high  and  overgrown  at 
their  base  by  a  crowd  of  parasitic  buildings 
hide  the  structure  and  disposition  of  the 
church  ;  little  is  seen  but  the  many  win- 
dows, and  from  a  distance  the  group  of 
low  domes  and  buttresses  that  crowns  it, 
surrounded  by  the  four  later  minarets. 
The  body  of  the  church  is  an  immense 
oval  hall,  or  nave,  100  ft.  wide  and  225  ft. 
long,  and  nearly  185  ft.  high  in  the  centre 
to  the  crown  of  the  great  dome.  This 
nave  consists  of  a  central  square,  a  hun- 
dred feet  across,  extended  east  and  west  by 
semicircles  of  like  diameter,  and  is  farther 
lengthened  by  the  apsidal  bema  or  sanctu- 
ary at  the  east,  and  a  corresponding  recess 
at  the  west,  making  the  whole  length  over 
260  ft.  The  central  square  is  covered  by 
the  great  main  dome,  which,  without  a 
drum,  rests  directly  on  its  pendeutives. 
Ijorne  by  the  four  corner  piers  and  liy  the 
connecting  arches  that  span  the  nave  with 
a  clear  opening  of  a  hundred  feet.  Two 
iialf  domes  of  like  span  cover  the  semi- 
circular ends  of  the  nave,  abutting  closely 
against  the  cross-arches,  and  rising  with 
tlieir  crowns  to  the  level  of  the  springing 
of  the  main  dome,  which  seems  to  sit  upon 
them.  The  side  arches  under  the  great 
dome  are  filled  with  arcades  in  two  stories, 
which  l)ear  screen  walls  that  are  them- 
selves pierced  in  the  tympana  with  a 
series  of  openings.  The  semi-domes  rest 
each  on  two  piers  that  stand  on  the  cir- 
cumference of  the  semicircle  below,  as  at 
the  corners  of  an  octagon.  These  jiicrs 
arc  joined  by  arches  which  open  into  round 
apses,  so  that  three  apses  group  about  each 
semi-dome,  the  smaller  half-domes  with 
which  they  are  covered  cutting  like  lunettes 
into  the  semi-domes.  The  apses  are  lined, 
not  with  walls,  but  with  arcades  like  those 
which  close  the  side  arches  of  the  great 
dome.  But  at  the  west  end  instead  of 
the  middle  apse  is  the  recess   Just   men- 


93 


CONS'l'AX'I'lXol'LK 


tioiK'il,  coniiniinieatinjj;  hy  three  ilooi's  with 
the  poreh  wliieli  is  tlie  main  entrance  iif 
the  rliurcli.      'I'lie  elinrdi.  lluTefore,  is  no- 


Fig,  54,  -Constantinople,  Sta,  Sofia, 

wise  cruciform,  as  it  lias  been  called,  nor 
basilical,  nor  aisled,  but  consists  of  a 
single  nave  of  a  peculiar  shape  that  lias 
not  been  repeated.  The  spaces  on  each 
side  the  nave,  divided  into  separate  cham- 
bers by  the  main  piers,  which  extend  later- 
ally to  the  outer  walls,  are  connected  into 
a  sort  of  aisle  by  arches  that  pierce  the 
piers,  and  are  cut  off  by  tliem  from  the 
nave,  communicating  with  it  at  intervals 
through  the  arcades  under  the  great 
art'hes.  Over  these  aisles  is  the  woman's 
gallery,  or  gi/nceceiiiit.  which,  continued 
in  the  .second  story  of  the  western  jiorcli. 
makes  the  circuit  of  the  nave  on  three 
sides,  overlooking  it  througli  the  npjier 
arcade  under  the  great  arches.  The  porch, 
in  two  stories,  is  a  great  narthex,  running 
across  the  fnmt  and  opening  into  the 
church  by  nine  doors.  Outside  this  is  an 
outer  narthex  of  one  story,  and  in  front 
of  it  an  open  court,  probably  the  original 
atrium,  surrounded  by  low  buildings  whicli 
replace  or  travesty  the  original  arca<lcs. 
The  interior  effect  is  perhajis  the  grandest 


in  the  World,     'i'lic  great  iiie<li;\;val  cathe- 
ilrals  are  longer  ;  the  dome  of  8t.  Peter's 
is  a  third  wider  and  nearly  twice  as  high  ; 
yet  the  greatest  media^- 
i  \al  naves  are  little  more 

4  than    half   as   wide    as 

J\  Sta.   Sofia's  and    iniicli 

II:-  low  e  r ,  and  even  the 
nave  of  St.  Peter's  is 
much  smaller,  and  it- 
self conceals  the  dome, 
while  the  hnge  single 
order  dwarfs  it ;  but  in 
Sta.  Sofia  no  ])art  ob- 
scures or  belittles  an- 
other, the  great  dome 
soars  out  of  the  others 
with  increasing  size  and 
height,  the  superjwsed 
arcades  add  to  the  lofty 
effect  and  the  eye  takes 
in  the  whole  interior  in 
one  view.  It  is  of  un- 
examjiled  magnificence.  The  hundreds  of 
columns  are  monoliths  of  verd  -  antique, 
por}iliyry,  and  other  costly  stones  ;  the 
walls  are  clad  in  varied  marbles ;  capitals, 
spandrels,  archivolts,  and  cornices  are 
covered  with  lavish  carving  or  inlay  of 
marble,  and  all  the  domes  are  rich  with 
mosaic  of  gold  and  colors.  A  boldly  cor- 
belled gallery  makes  the  circuit  of  the 
nave  above  each  arcade,  and  marks  the  di- 
vision into  stories.  The  decoration  of 
marble  and  mosaic  is  continued  through 
the  gyufpceiini  and  both  stories  of  the 
inner  narthex.  I''orty  windows  pierced  in 
the  base  of  the  jirincipal  dome  and  many 
more  in  the  walls  give  the  chrn-ch  an 
ample  light.  (See  Frontispiece.)  'J'lie 
Turks,  on  taking  possession  of  it.  covered 
all  the  mosaics  throughout  with  white- 
wash. When  it  was  restored  by  Fo.ssati, 
they  were  uncovered,  and  only  the  figure 
subjects  were  again  concealed.  The  iiii/i- 
rtf/i,  or  taliernacle  with  the  jirayer-niche, 
the  Sultan's  ])avilion,  and  other  Moham- 
medan fittings,  have  taken  the  place  of  the 


<M 


CONSTANTINOPLE 


t'liristiau  altar  ami  rurnituiv.  Sta.  Sofia 
is  the  typical  example  of  Byzantine  archi- 
tecture, the  greatest  instance,  next  to  St. 
Peter's,  of  a  dome  on  pendentives  borne  by 
four  piers,  and  the  oldest  important  one 
that  exists.  No  {iotliic  church  is  more 
purely  structural.  The  main  dome,  but- 
tressed laterally  by  the  great  piers  which 
spread  sidewise  to  the  outer  walls,  is  bal- 
anced east  and  west  by  the  semidomes 
that  lean  directly  against  the  cross-arches 
on  which  it  stands.  The  semidomes  in 
their  turn  are  propped  by  the  triple  apses 
that  cluster  about  them,  and  these  by  the 
buttressed  vaults  of  the  side  chambers  ; 
the  outer  walls  are  needed  only  to  enclose 
the  included  space.  Every  dome  and 
every  vault  is  its  own  roof  ;  and  aljove  the 
high  walls  every  part  confesses  the  struct- 
ure within.     {See  Fi(/s.  S^?  ■'•'■ ) 

The  original  church  was  built  by  C'ou- 
.stantine,  we  are  told,  in  o'.'il.  and  was 
a  flat-ceiled  basilica.  This  church  was 
burned  in  the  sedition  called  the  Nika 
(in  532),  which  destroyed  a  considerable 
part  of  the  city  and  nearly  cost 
Justinian  his  throne;  but  in 
forty  davs  he  had  laid  the  corner- 
stone of  the  new  building,  which 
he  superintended  in  person, 
plundering  the  cities  round 
about  of  their  materials  and  bur- 
dening his  realm  with  special  im- 
posts. He  pressed  the  work  with 
such  enthusiasm  that  in  less  than 
six  years  the  cluu'ch  was  conse- 
crated, in  the  name  of  the  Di- 
vine Wisdom,  'Ayt'a  Soc^t'a,  on  the 
2<ith  of  December,  h'SH.  He  ex- 
claimed, "I  have  surpassed  thee, 
()  Solomon,"  and  doubtless  he 
had — or  rather  his  architects  had, 
Anthomios  of  Tralles  and  Isi- 
doros  of  Miletos.  Justinian's 
prime  requirement  had  been 
that  it  should  be  impossible  to 
burn    the    church,    and    Sta.    Sofia 


top  to  bottom.  In  twenty-two  years  an 
eartliiiuake  threw  down  the  dome,  which 
was  too  Hat  ;  it  was  rebuilt,  higher  and 
more  secure,  and  Justinian  reconsecrated 
the  church  in  .500.  Though  shaken  at 
intervals  by  earthquakes,  it  has  not  suf- 
ferred  seriously  since  that  time.  It  was 
plundered,  but  escaped  destruction,  when 
the  city  was  stormed  and  half  burned  by 
the  crusaders  in  1204,  and  in  14.53,  at  the 
taking  of  the  city  by  the  Turks,  when,  as 
the  story  goes,  Mohammed  II.  rode  up  to 
the  altiir  and  gave  the  signal  for  massacre 
of  the  Cliristians  who  had  taken  refuge 
there,  he  respected  the  building,  and  at 
once  made  it  the  chief  inosque  of  the  city. 
Four  minarets  were  successively  built 
al)out  it  by  ^lohammed  II.,  Selim  II.,  and 
Amurath  III.  It  was  elaljorately  restored 
undci-  Abdul  Mejid  in  1847  by  Fossati,  au 
Italian  architect,  as  is  noticed  above. 

(-)f  the  early  buildings  that  clustered 
al)out  the  church  most  are  destroyed  or 
di.sguised  by  alteration.  The  most  im- 
portant that  renuiins  is  the  Baptistery  on 


solid  masonry,  within  and  without. 


is   of 
from 


Fig.  55. —  Constantinople,  Sta,  Sofia. 
Scale  of   100  feet. 

the  south.     It  is  small,  square  below  and 
octagonal  above,  and  domed.     Inside,  the 


COXSTAX'l'IXOl'M'; 


plan  is  an  octajjon  with  niclies  on  four 
sitles  at  tlie  (•orners  of  the  square,  and  a 
square  niche  projecting  eastwanl.  It  lias 
been  utilized  liy  the  Turks  for  a  mauso- 
leum. 

The  Sii.TAx's  I'alacic.  or  Old  Sci-ajilio. 
dating  from  the  xv  cent.,  situated  upon 
the  easternmost  liill  of  t'onstantiiuiplr 
(Stanilioul)  on  a  point  of  land  washed  hy 
the  Sea  of  .Marmora,  the  IJosphorus,  and 
the  waters  of  the  (iolden  Horn,  is  a  vast 
walled  enclosure  divided  into  three  large 
irregular  courts  adorned  with  groves  and 
gardens  and  crowded  with  buildings 
erected  at  dilferent  times,  and  in  no 
architectural  order.  'J'hc  surrounding 
wall,  which  on  the  water  side  is  a  contin- 
uation of  the  city  wall,  is  reinforced  by 
numerous  towers  now  falling  to  ruin. 
The  first  of  the  three  divisions  is  called 
the  Court  of  the  Janizaries,  and  is  entered 
through  the  J?ab  Humayun  or  August 
(fate,  translated  by  the  French  into  Sub- 
lime Forte,  the  name  by  wliich  the  Turk- 
ish (iovernuH'nt  is  now  diplom:itically 
known.  Ill  this  court  is  the  chun-li  nf 
St.  Irene  (y.r. ),  founiled  by  Constantiiie 
and  used  by  the  Turks  as  an  arniory. 
The  second  c(jurt,  entcivd  through  the 
]{ab-el-S('him.  or  (Jate  nf  Health,  is  sur- 
rounded liy  an  ai'cade  of  slemler  niarl)le 
columns  and  arches,  aiul  contains,  with 
many  other  buildings,  the  Divan,  or  Hall 
of  Justice,  and  the  reception  hall.  The 
first  is  a  large,  vaulted  hall,  lined  with 
gilded  marble  arabestjues.  The  reception 
hall  is  supported  by  si.x  enormous  col- 
umn.s,  which,  with  the  walls  and  ceiling, 
jire  delicately  I'arved,  ]iainted,  and  gilded. 
'i'he  third,  or  imperial  court,  sacred  to  tlie 
royal  family,  entered  from  the  second  by 
the  famous  Hah  Seadet  or  Gate  of  Felici- 
ty, contains  the  Hall  of  the  Throne,  a 
small,  s(|uai'e  building  with  a  rich  doorway 
flanked  l)y  two  fountains  and  surrounded 
by  a  marble  gallery.  The  site  of  the  Serag- 
lio is  that  of  the  acropolis  of  ancient  Bv- 
y.antiuni.  whi<-li   under  the  Greek  Em[)ire 


was  occupied  as  a  college  for  the  priests 
of  Sta.  Sofia.  ^lohammiMl  11..  on  taking 
the  city  in  14-"):!.  ai)proi>riated  the  site  for 
his  palace,  which  was  constantly  added  to 
and  beautified  by  his  successors  until  it 
en<-losed  a  circumference  of  several  miles, 
and  could  accommodate  at  one  time  a 
number  of  inhabitants  variously  stated  at 
from  six  to  twenty  thousand.  It  was 
abandoned  in  the  jire.-ient  century,  and  in 
1803  a  large  part  of  it  was  burned.  The 
new  palace,  or  Dolma  Bagsche,  outside  the 
city,  is  a  modern  building  of  great  size  and 
splendor,  but  of  little  architectural  charm. 

'J'lie  TliKoTOKOs  (Church  of  the  Mother 
of  God),  as  the  Greeks  call  it,  iu)w  a 
mosque,  is  believed  to  l)e  that  of  a  con- 
vent which  was  built  under  Leo  VI.  {SHO- 
iil  I).  It  is  small,  being  only  about  80  ft. 
long,  but  of  elaliorate  and  picturescpie  de- 
sign in  jilan,  a  (Jreek  cross  enclosed  in  a 
square,  with  three  eastern  a])ses,  the  west- 
ern front  crossed  by  a  narthe.x  that  has 
been  com]iletely  covered  by  a  greater  cso- 
)iiirlhe.r.  or  outer  porch,  built  about  it  on 
three  sides  at  a  later  time.  The  central 
dome  .staiuls  on  ])endentives  on  four  col- 
iinins  ;  its  drum,  arcaded  on  the  outside 
and  piri'ciMl  with  windows,  stands  on  a 
sipiare  base  against  wliich  abut  the  galiled 
roofs  that  cover  the  vaults  of  the  four  arms 
of  the  cross.  The  apses  are  peculiar,  the 
niiilillc  one  being  five-sided,  with  three 
windows  separatt'd  by  clustered  shafts  for 
angle  -  })iers,  and  the  side  ones  (.)])eniiig 
with  doors  in  a  flat  wall,  'i'he  esoiiarthex 
is  elaboratelv  built,  banded  in  brick  and 
marble,  with  an  opi'ii  arcade  in  front, 
and  three  liigli  domes,  whose  dninis  are 
not  windowed  iw  ai'caded  like  that  in  the 
centre. 

'W'ai.i.  oi-  lIi:i{Ari.n  s.  built  ill  (;4(i. 
and  extending  from  the  termination  of 
the  Walls  of  Theodosius,  at  the  Tower  of 
the  Hebdomon,  for  about  two-thirds  of  a 
mile,  to  the  walls  of  the  (iolden  Horn. 
The  wall  is  battlclnclitcil.  ovi'r  1"^  ft. 
thick,  and   stj-ciiiitheiicd    bv   about    tweiitv 


Ufi 


ATHENS-CHORAOIC  MONUMENT  OF  LYSIC RATES 


^"■f  ''T'-r 


r^  "J^T'?-*-*^'^'*^ 


COEI 


great  round  or  octagonal  towers,  anil  it  re- 
mains in  excellent  condition. 

Walls  of  Theouosius,  extending  in  a 
general  northeasterly  direction  from  the 
Sea  of  Marmora  for  three  and  one  -  half 
miles  toward  the  Golden  Horn,  and  end- 
ing at  the  Tower  of  the  Tribunal  of  the 
llebdomon,  built  by  the  Emperor  Valeus. 
The  inner  wall  was  defended  by  ninety- 
four  great  towers,  and  the  outer  wall  by 
seventy-one  turrets,  all  built  of  massive 
masonry.  There  were  five  gates  ;  those 
that  have  left  the  most  important  remains 
are  the  Golden  (Jate  and  the  Polyandria 
Gate,  now  called  the  Adrianople  Gate. 
Many  of  the  towers  and  long  stretches  of 
the  curtains  of  the  inner  wall  remain  very 
perfect.  These  walls  present  one  of  the 
most  imjjressive  siDectaclos  of  the  kind. 
COEI  (anc.  Cora),  Latium,  Italy. 

Ancient  Bridge,  spanning  a  ravine  on 
the  road  to  Xorba.  It  is  of  a  single  arch 
of  tufa,  69  ft.  high,  of  massive  irregular 
masonry,  and  ranks  with  the  most  re- 
markable monuments  of  its  class  in  Italy. 

Temple  of  IlERcrLEs.  so-called,  of  the 
time  of  Sulla,  a  graceful  Koman-Doric 
building,  which  despite  the  discreiiancy  of 
proportions  recalls  in  its  feeling  Greek 
work,  especially  sucli  work  as  the  Pom- 
peian  decorations.  The  temple  stands  in 
the  citadel,  near  the  church  of  S.  Pietro  ; 
the  front  portico  is  complete,  except  its 
roof,  together  with  the  front  wall  and  door 
of  the  cella.  The  portico  is  tetrastyle,  with 
two  columns  intervening  on  each  side  be- 
tween the  angle-column  and  the  anta  of 
the  cella.  The  columns  are  slender  (the 
height  of  the  shafts  is  seven  diameters), 
with  low  capitals  and  bases  of  Ionic  type. 
The  architrave  is  very  low,  and  the  frieze 
has  triglyphs  at  the  angles,  in  the  Greek 
manner.  The  pediment  t<Jo,  is  low.  The 
framing  of  the  cella  door  is  richly  mould- 
ed, and  the  lintel  is  surmounted  by  an 
elaborate  cornice.  The  intercolnmniation 
is  wide  (4  ft.  8  in.). 

Walls,  of  which  some  portions  are  as 


late  as  the  time  of  Sulla.  The  oldest  parts 
are  of  enormous  unhewn  hloi'ks  of  lime- 
stone ;  the  next  period  is  represented  by 
carefully  jointed  polygonal  work,  and  this 
is  followed  by  the  earliest  Roman  work 
in  excellent  ashlar.  The  good  preser- 
vation of  the  walls,  and  the  reunion  in 
them  of  the  masonry  of  widely  separated 
periods  render  them  especially  interest- 
ing. 
COKINTH,  Greece. 

Archaic  Doric  Temple  at  the  base  of 
the  Acrocorinthos,  commonly  known  as 
the  Temple  of  Corinth.  Its  ancient  at- 
tribution is  unknown.  The  existing  re- 
mains consist  of  several  columns  of  the 
west  front  and  the  south  flank  with  sev- 
eral blocks  of  the  architrave.  The  mate- 
rial is  rough  limestone,  which  was  origi- 
nally primed  with  a  lino  reddish-yellow 
stucco.  The  floor  was  covered  with  a 
stouter  stucco,  stained  red.  The  temi^le  was 
peripteral,  hexastyle,  with  fifteen  columns 
on  the  flanks,  on  a  stylobate  of  three  steps. 
The  cella  had  pronaos  and  opisthodomos 
'vith  two  columns  i/nnifis,  and  was  divided 
into  two  cult-chambers.  The  roof  of  the 
west  chamber  was  probably  sup[)orted  by 
four  columns  ;  that  of  the  chief  chamber  by 
two  ranges,  probably  each  of  four  columns. 
The  shafts  of  the  surviving  columns  are 
monolithic,  without  entasis,  with  but 
little  deci'ease  in  diameter  toward  the  top, 
and  with  twenty  channels.  The  capitals 
are  heavy,  with  wide-extending  echinus 
and  thin  abacus.  The  lower  diameter  of 
the  front  columns  is  to  their  height  as  1  to 
4.19  ;  of  the  side  columns,  as  1  to  4.-1:2. 
The  Doric  convex  curves  are  present,  the 
middle  columns  of  the  west  front  standing 
2  cm.  higher  than  the  angle-columns. 
The  lowest  of  the  steps  of  the  west  stylo- 
bate  is  hewn  from  the  rock,  thus  preclud- 
ing the  possibility  of  any  settling.  The 
chief  dimensions  of  the  temple  are  :  length 
on  upper  step,  175  ft.  ;  width,  about  70 
ft.  ;  diameter  of  columns  of  fronts,  5 
ft.  8  in.  ;  of  flanks,  5  ft.  4  in.  ;  front  in- 


97 


conxETo 


tercnlumniation,  13  ft.  U  in.  :  side  inter- 
columniution,  12  ft.  2  in.  ;  angle  intor- 
columuiation.s,  less  by  8§  in.  ;  height 
of  cohnnns,  2'-^  ft.  8  in.  Liirge  Eonian 
roof-tiles  in  terru-cottii  have  been  found 
in  plenty,  showing  that  the  temple  was  re- 
built by  the  Romans  after  the  destruction 
by  Mummius,  but  it  dates  certainly  from 
well  back  in  the  vi  cent,  u.c,  and  is  jier- 
haps  as  early  as  the  vii  century.  Leake 
and  some  others  have  identified  this  tem- 
l^le  as  that  of  Athena  Ohalinitis. 

Temple  of  Apollo,  with  a  statue  in 
brouze,  on  the  right-hand  side  of  the 
street  leading  from  the  Agora  to  the  Sicyon 
Gate.  Remains  which  probably  come  from 
this  temple  have  been  found  amid  the 
ruins  of  an  old  Byzantine  ehureh  or  a  late 
Koman  building,  lying  aljout  L.^OO  feet  to 
the  north  of  the  well-known  Temple  of 
Corinth.  These  remains  consist  of  a  num- 
ber of  Doric  column-drums,  built  into  the 
luu'th  wall  of  the  ruin,  and  a  fragment  of  a 
Doric  arcliitrave  o  ft.  'J  in.  high,  in  Poros 
stone.  The  remains  indicate  a  temjile 
contemporaneous  with  and  largei-  than  the 


Fig.  56.— Corneto,  S.  M.  in  Castello. 


Temple  of  Corinth,  and  as  large    as    the 
Olympieum  at  Olympia. 

V-VfLTED  To.MH,  discovered  in    ISSl    to 
the  east    of  Old  Corintli  near  tlie   Great 


Gate.  The  greater  part  of  the  monument 
was  unfortunately  destroyed  at  the  time 
of  its  discovery  by  workmen  making  a 
road.  Its  chief  importance  lies  in  the 
painted  tlecoration  of  the  interior,  which 
consists  of  four  zones,  occujiying  the  whole 
field.  The  two  middle  zones  contain  hu- 
man figures,  the  chief  scene  represented 
being  a  funeral  banquet.  In  the  two  other 
zones  are  portrayed  flowers  and  fruit,  with 
birds.  The  drawing  is  good,  and  the 
colors  were  fresh  and  bright  when  the 
painting  was  uncovered.  The  original  was 
at  once  copied  in  fac-simile  for  the  Museum 
at  Athens.  This  tomb  is  the  only  one  of 
its  kind  wliich  has  as  yet  l)een  found  in 
Greece  proper,  and  bears  a  strong  analogy 
to  a  well-known  class  of  Etruscan  tondis, 
and  to  those  of  the  Crimea  or  Cimmerian 
Bosphorus.  Its  date  has  not  yet  been  de- 
termined, but  it  is  certainly  late. 
CORNETO,  Italy. 

S.  Fkaxcesco  is  interesting  from  be- 
ing one  of  the  few  remaining  Franciscan 
churches  in  the  early  Italian  Gothic  style 
liuiU  before  the  middle  of  the  xiii  century. 
The  nave  has  rilibcd  cro.ss- 
vaults  over  scpiare  compart- 
ments, the  aisles  over  olilong 
comjiartnients.  The  ribs  are  a 
jilain.  Hat  moulding,  as  at  ISta. 
.Maria  di  Castello  ;  the  piers  are 
gi'ou]ie(1.  'i'hei'c  ai'e  virtually 
live  aisles,  the  t  wn  nutei'  ones 
being  ill  the  I'oi-iii  of  chapels 
opening  out  with  imintcd  arch- 
es. .Some  of  tlu'  ca]iitals  with 
heads  and  a  ii  i  ni  a  1  s  ai'e  still 
Lombard.      |A.  L.   F..  .Ii;.| 

S.  M.\i:i.\  I.N  ('.\.sTKLLo  is  a 
ihui'ch  in  Lombard  style,  dat- 
ing fi-oui  the  \i  century.  The 
fayade.  somewhat  later  than  the 
body  of  the  church,  anil  in- 
scribecl  with  Iliedatell'^M.  haslhrce  round- 
arched  doors,  with  windows  of  like  sha])e 
above.  Its  original  outline  following  the 
nave  and  aisles  may  still  be  seen,  but  it  lias 


8t3 


CORTONA 


been  Iniilt  up  sfnuire  over  tlio  two  half  ga- 
bles of  the  aisles.  The  iilan  is  basiliean,  but 
with  no  transejit,  and  has  three  round  east- 
ern apses,  decorated  with  sleniler  engaged 
columns  and  corbel  -  tables.  The  vaulted 
nave  has  five  bays  corresponding  to  ten  in 
the  aisles,  and  ten  pairs  of  arches  on  cruci- 
form piers,  with  engaged  vaulting -shafts 
(the  intermediate  shafts  being  neglected 
in  the  vaulting)  surmounted  by  the  clere- 
story windows.  Over  the  central  bay  was  a 
dome  on  pendentives.  which  has  lately  fal- 
len. On  the  mosaic  floor  stands  a  hand- 
some mosaic  pulpit  bearing  the  date  1208, 
and  the  baldacchino,  of  similar  style,  is 
dated  11 08.  {See  Fin.  ■',(].) 
CORTONA,  Italy. 

The  Cathedral  (Sta.  Maria)  is  a  Re- 
naissance church  of  the  end  of  the  xv 
cent.,  whose  design  has.  with  some  uncer- 
tainty, been  ascribed  to  Antonio  da  San- 
gallo.  Its  i^lan  is  a  rectangle  measuring 
about  To  ft.  by  IGO  ft.,  with  its  nave  sep- 
arated from  the  aisles  by  arcades  of  six 
round  arches  on  each  side,  springing  from 
Corinthian  columns  with  blocks  of  entab- 
lature, and  a  continuous  entablature  over 
the  arches  from  which  sjirings  the  plain 
barrel-vault  of  the  nave.  The  aisles  are 
divided  by  transverse  arches  into  square 
gi'oined  bays,  each  with  an  arched  altar- 
recess,  aiul  lighted  l)y  a  small  round  win- 
dow. The  nave  opens  by  a  triumphal 
arch  springing  from  Corinthian  columns 
into  a  scpiare  choir  covered  by  a  low  dom- 
ical ceiling  and  flanked  by  two  square 
chapels.  The  exterior  is  simple.  The 
front  has  a  central  doorway  flanked  by 
detached  columns  with  blocks  of  entabla- 
ture supporting  a  nuuid  arch.  Over  the 
doorway  is  a  round  window  with  deejily 
profiled  mouldings.  A  square  bell-tower, 
of  which  the  design  is  attributed  to  Fran- 
cesco Laparelli,  stands  at  the  S.  E.  corner 
of  the  choir. 

Madoistna  del  Calcinajo,  known  also 
as  the  Madonna  della  Grazie,  was  begun 
in   1-185   from   the   designs   of   Francesco 


di  Giorgio,  of  Siena,  as  a  thank-offer- 
ing for  the  deliverance  of  the  town  from 
the  famine  of  the  previous  year,  and  fin- 
ished in  1.314.  Its  i^lan  is  a  Latin  cross 
about  170  ft.  long  and  110  ft.  across  the 
transef)t,  divided  into  a  nave,  transept, 
and  choir,  without  aisles  or  chapels,  all 
covered  by  plain  barrel  -  vaults,  aiul  the 
crossing  by  an  octagonal  dome  raised  on  a 
high  drum,  with  a  window  in  each  face 
enclosed  by  an  order  of  columns  and  pedi- 
ment. The  architecture  of  the  exterior 
and  interior  is  in  exact  correspondence, 
the  height  being  divided  by  superimposed 
orders  of  jnlasters,  with  rectangular  win- 
dows in  the  second  story  like  those  under 
the  dome.  The  fa9ade  has  a  single  door- 
way flanked  by  engaged  columns  carrying 
an  entablature  surmounted  by  a  semicir- 
cular pediment,  and  a  round  window  above. 

Sta.  Makia  Xlova,  a  Renaissance 
church  dating  from  the  middle  of  the  xv 
century.  Its  plan  is  a  square  of  about  TO 
ft.,  disposed  as  a  Greek  cross,  with  the 
centre  covered  by  a  hemispherical  dome 
on  a  drum  pierced  by  square  windows  : 
tlie  four  arms  of  the  cross  by  high  bari-el- 
vaults,  and  the  square  bays  in  the  angles 
by  low  domical  vaults.  From  the  eastern 
arm  opens  a  square  tribune  with  a  similar 
vanlt,  flanked  on  each  side  by  a  rectan- 
gular room.  The  exterior  has  three  simi- 
lar and  gracefully  jJi'oportioned  fapades, 
each  divided  in  three  by  flat  pilasters,  car- 
rying a  light  entablature.  The  central 
compartments  are  raised  to  cover  the  arms 
of  the  cross,  each  being  pierced  by  a  round 
clerestory  window,  crowned  with  a  low 
pediment,  and  flanked  by  light  scroll  but- 
tresses. Below  are  small  rectangular  cen- 
tral doors  and  windows,  surmounted  by 
pediments. 

COSA.     See  Ansedoniu. 
COTROXA  (anc.  Crotona).  Calabria.  Italy. 

Temple  of  Hera  Lacixia  (Juno  of 
the  Laciuian  promontory,  now  Capo  della 
Colonna.  at  some  distance  south  of  Co- 
trona).     The   temple    rose   from   a  great 


99 


CREMA 


]il;itforMi  of  masonry  on  the  extreme  point 
of  the  promontory,  so  that  it  still  serves,, 
witli  its  sinijle  survivini^  colnmu,  as  a  bea- 


Maria  della  Croce. 


coll  for  mariners.  It  rcniaiiied  almost  com- 
jilete.  with  I'orty-eiglit  cohmins  standing, 
down  to  the  beginning  of  the  xvi  cent.. 
wlien  it  was  in  great  part  pulled  down  for 
rebuilding  the  ejiiscopal  jialace  of  Cotrona. 
It  was  t'urtlu'r  damaged  liy  an  eartliqnake 
in  lii:!s.  and  its  i-n'|iidoina,  has  since  fur- 
nislu'd  nuicb  iiKitcrial  for  the  construc- 
tion of  ibe  iiKiles  of  Cdtrona.  The  col- 
iiiiin  is  of  the  best  time  of  Doric,  the  sec- 
ond half  of  the  V  cent,  li.c;  the  shaft  has 
si.xteen  ciianuels,  and  no  entasis.  The 
base  diameter  is  ,">  ft.  loj  in.,  the  height, 
including  the  capital,  27  ft.  2|  in.,  or  4.05 
diameters.  The  echinus  is  full  and  the 
abacus  thick.  The  temiile  was  hexastyle. 
with  fourteen  colnmirs  on  each  flank,  and 
an  interior  range  of  four  columns  before 
the  jironaos.  Leiiormant's  ojiinioii  that 
this  teni])le  was  very  old  was  shown  to  be 
iueiirrect    by    J.    '1'.    t'larke"s    jiartial    ex- 


cavation in  ISST.  This  excavation  bnuiglit 
to  light  a  eornice-lilock,  a  triglyph,  part 
of  the  tympanum  cornice  with  a  Doric 
cyma,  all  of  beautiful  execution, 
and  several  fragments  of  the 
m  a  r  b  1  e  pediment  -  scnljjtures. 
Many  bronzes,  terra  cottas,  and 
some  ancient  glass  were  also 
fouiul.  This  was  no  doubt  the 
most  important  Doric  temi^le  of 
the  Italian  mainland. 
(iiEMA.  Italy. 

Sta.  Makia  della  C'liof'E,  a 
curious  example  of  an  early  Re- 
naissance church  in  whicli  tiie 
traditions  of  Romanesque  archi- 
tecture still  linger.  It  is  a  tall 
eyliiidrieal  brick  building.  ab(]ut 
s.">  ft.  in  diameter,  sttrniunded  by 
two  stories  of  flat  pilasters  with 
entablatures,  one  of  coupled  win- 
dows under  broad  arches,  and  an 
ai'eaded  iijiper  gallery  of  round 
eiisiied  aiidies  on  slender  col- 
umns, nuudi  in  the  style  of  the 
earlier  Jjoinbard  churches.  It 
ends  with  an  arcaded  cornice 
under  a  low-pitched  roof.  Attached  to 
this  central  iuiilding  on  four  sides  are 
low  square  pavilions  terminated  each  by 
a  bulbous  dome  of  oriental  aspect,  with 
four  lesser  domes  at  the  angles,  partially 
concealed  by  shed  -  like  roofs.  The  in- 
terior is  octagonal,  four  sides  being  occu- 
pied on  the  lower  story  by  very  flat  niches, 
;inil  llie  oilier  foUl'  olieli  to  the  [lavilions 
above  ineiitioned.  through  round  arches. 
Three  of  them  are  useil  as  porches,  while 
the  fourth,  of  wliiili  the  floor  is  raised,  is 
a  tribune  or  choir.  In  each  C(n-ncr  is  a 
slender  detacdied  shaft  running  up  to  a 
high  entablature  over  the  great  arches  of 
the  first  story.  Above  this  is  a  second 
arcade,  opening  into  an  inner  gallery 
which  surrounds  the  rotunda  beneath  the 
octagonal  dome,  "^riie  dome  is  not  seen 
outside,  being  concealed  by  tlie  eaves-gal- 
lerv.  as  in  most  of  the  baptisteries  of  Xorth 


CREMONA 


Italy.  The  cliureli,  built  between  J4'.i() 
ami  1515.  b\'  Giovanni  Hattista  Battaglia, 
an  architect  of  Lodi,  seems  tt)  show  the 
influence  of  Bramante  mingled  witli  that 
of  Gothic  tradition.  {See  Fiij.  57.) 
OREMONA.  Italy. 

The  B-Vi'TisTEUY.  an  octagonal  brick 
buililing  about  St)  ft.  in  outside  diameter 
adjoining  the  cathedral.  The  entrance 
front,  faced  with  marble,  has  a  projecting 
porch  with  a  rouml  arch  carried  on  col- 
umns resting  on  lions.  Above  a  high  plain 
first  story  runs  an  arcaded  gallery  about  12 
ft.  in  height,  with  slender  columns.  The 
building  was  originally  covered  by  a  low 
dome,  wdiich  became  unsafe  and  was  taken 
down.  Tlie  walls  were  then  cari'ied  aliout 
seven  ft.  higher,  with  round  windows  in 
each  face,  and  a  new  dome  of  greater 
lieight  was  built,  showing  on  the  exterior 
an  octagonal  lantern  with  columns  at  the 
angles,  square  openings,  and  a  domical 
roof.  Within,  the  walls  are  in  three  sto- 
ries, the  first  showing  on  each  face  three 
stilted  recessed  round  arches  on  marble 
columns.  ^Above  these,  resting  on  eorlicl 
courses,  are  two  arcaded  galleries  in  the 
thickness  of  the  wall,  with  occasional  win- 
dows. Above  the  upj)er  gallery,  at  tlu' 
height  of  about  50  ft.,  springs  the  pointed 
octagonal  dome,  bearing  the  lantern.  A 
round  ajwe  projects  from  one  side,  anil 
altars  are  set  on  three  other  sides.  A  large 
font  occupies  the  middle  of  the  floor. 
The  original  baptistery  is  said  to  have  been 
built  as  early  as  900,  but  the  present  builil- 
ing is  jn'obably  not  older  than  HOT,  and 
tradition  assigns  to  it  one  Theodosio  Or- 
landini  as  its  architect. 

The  Cathedral,  a  remarkable  church 
of  various  dates  and  styles,  originally  built 
from  1100  to  1100,  in  which  latter  year  it 
was  consecrated.  Its  design  is  attributed 
to  the  architects  Ognihene  and  Ossolaro. 
and  its  plan,  as  built  by  them,  consisted  of 
a  nave  and  two  aisles,  with  three  eastern 
apses.  To  tliis  plan  a  century  later  was 
added  an  immense  transept    considerably 


longer  than  the  nave  and  choir  and  higher, 
with  aisles.  The  exterior  presents  many 
interesting  and  unusual  features.  The 
great  fa9ade,  banded  in  white  and  red 
marble,  has  no  relation  to  the  interior.  It 
is  a  Romanesque  design  deformed  by  taste- 
less additions.  For  nearly  one-half  its 
lieight  the  wall  is  unbroken  except  by  the 
central  porch  and  two  unimportant  door- 
wa}'s.  The  porch,  added  in  12T4,  is  of  two 
stages  ;  first  a  broad  pointed  arch  s^jring- 
ing  from  single  columns  that  rest  on  lions ; 
above,  a  light  loggia  of  three  pointed 
arches  on  columns  also  resting  on  lions. 
Over  the  porch  is  a  large  rose  window,  all 
of  red  marble,  cutting  up  through  tlie 
horizontal  cornice  of  the  gable,  wliich  is 
rather  to  be  called  a  pediment.     Un  either 


.side  of  the  rose  are  two  arcaded  galleries. 
The  pediment  is  truncated  and  surmounted 
by  a  Renaissance  composition  of  jjilasters 


CKEMONA 


ami  niches,  ciitablaturo  and  pediment.    At  its    prineipal    features    substantially   un- 

tlie  corners  are  high  round  angle-turrets  changed,  nave  jiiers  alternately  rountl  and 

with  open  cupolas  and  round  spires.     The  clustered,  carrying  round  arches,  with  tri- 

transept  fronts,  shams  like  the  west  front,  foriuni   aiid    clerestory   above  ;    nave    and 

are   divided   by  flat   pilasters    into    three  aisles  vaulted  in  oblong  bays,  the  former 

compartments  with  grouped  windows  both  with   sharply  pointed  arches,  a  fine  cryjil 


rounil  and  pointed,  'i'he  north  transept 
has  a  projecting  porch  under  three  rose- 
windows,  and  a  low  gable  with  arched  cor- 
bel-table, decorated  mouldings,  and  three 
octagonal  turrets  similar  to  those  of  the 
west  front.  The  east  end  had  a  round 
apse  with  a  gallery  piei'cing  the  buttresses 
and    running    round    the  apse   under   the 


Fig   59 — Cremona,  Pal,  der  Giureconsuiti. 

windows.  The  ornaments  of  door.s,  win- 
dows, and  cornices,  iucluditig  cusps,  dia- 
pers, tracery  of  rose-windows,  etc.,  are 
all  executed  in  brickwork.  The  interior 
has  been  partially  modernized  but  retains 


under  the  choir,  with  apsidal  end,  divided 
into  three  vaulted  aisles  of  equal  width  by 
two  rows  of  coupled  columns.  The  walls 
and  vaults  of  the  church  are  decorated 
with  frescoes  of  various  ages,  the  oldest 
believed  to  date  from  the  middle  of  the 
XIV  century.     {See  Fig.  tiS.) 

A  little  north  of  the  church,  but 
connected  with  it  by  a  modern 
arcade  of  bad  classic  design,  is  a 
scpiare  campanile  rising  to  the 
height  of  ;i'.»(i  ft.,  called  the  'I'o- 
\-.v/M\.  with  numerous  stories  di- 
\id('(l  liy  string-courses,  gronjied 
windows  with  pointed  bearing- 
ai'ches  increasing  in  size  and  im- 
portance as  they  ascend,  and  fin- 
ished with  an  octagonal  belfry  in 
two  stages  with  octagonal  spire. 
The  tower  was  begun  in  1283  to 
rommemorate  the  establishment 
of  jieace  between  the  cities  of 
('i-eiiiona.  ^lilan.  Piacenza.  and 
r.rescia.  It  was  only  roofed  in 
l.-.Sl. 

I'al.vck  of  the  JiKisrox- 
sri,Ts,  an  interesting  exam])le  of 
I  lie  civic  architecture  of  North 
Italy  in  the  (Jothic  period.  It 
IS  a  small  brick  building  of  two 
high  stories,  with  faces  on  two 
,-t  reels.  The  first  story  was  orig- 
iii.illv  ojjcn.  as  in  the  brolctli.  or 
town-halls,  with  tall  pointed 
arches,  springing  from  s(iuare 
brick  piers.  These  arches  are 
now  filled  np  and  the  story  is 
used  for  shops  and  apartments.  The  sec- 
ond story  presents  a  row  of  triple  windows, 
of  iidmiralile  design,  the  openings  point- 
I'd  and  divided  by  slender  marble  col- 
umns, and  enclosed  within  broad  and  high 


CEOTONA 


pointed  arches  dueply  splayed,  with  good 
(iothie  mouldings  within  a  broad  band  of 
ornament,  the  whole  executed  in  brick- 
work of  admirable  character.  There  is  an 
arcaded  cornice  under  a  battlemented  para- 
pet. The  building  dates  from  ViU'i  and 
was  originally  built  for  the  Oonfalonieri 
or  mayors.  {See  F'uj.  o9.) 
CROTOXA.  See  Cuirona. 
CUUZOLA,  Dalmatia. 

The  Cathedral  (S.  Marco),  a  Gothic 
church  dating  probably  from  the  early  j)art 
of  the  XIV  cent,  with  an  attached  cam- 
panile of  the  XV  century.  It  has  a  nave 
of  tive  bays  with  side  aisles,  and  three  round 
apses  on  the  east.  The  bays  are  square  in 
the  aisles,  groined  without  ribs,  and  divid- 
ed by  wide  transverse  arches.  The  nave 
has  a  flat  plastered  ceiling  :  the  main  and 
cross  arches  are  pointed.  The  columns  are 
round  monoliths  with  high  Attic  bases  and 
spreading  capitals  varying  in  design  and 
execution.  The  ajjses  open  to  the  church 
by  round  arches  and  have  semidomes. 
Above  the  arcades  is  a  triforium  of  round 
arches  in  pairs  with  coupled  columns  be- 
tween, over  which  is  a  clerestory  with  sin- 
gle cusped  and  pointed  windows.  In  the 
XVI  cent,  an  additional  aisle  was  added  on 
the  north  side.  Over  the  high  altar  is 
a  baldacchino  of  three  receding  stories 
pierced  with  tracery  and  supported  on 
four  columns  with  renaissance  capitals. 
The  fa<;ade  has  a  Gothic  doorway  of  much 
beauty,  with  twisted  jamb  shafts,  flanked 
by  coupled  columns  supporting  heavy  con- 
soles which  bear  conventional  lions.  The 
gable  is  pierced  by  a  traceried  rose  win- 
dow. The  campanile  is  plain  to  the  top, 
where  it  ends  with  an  arcaded  jiarapet  of 
trel'iiiled  arches  and  a  beautiful  octagonal 
lantern  in  two  stories  suiiiiorted  on  clus- 
tered colonnettes. 

The  Fraxciscax  Coxvent  is  on  an 
island  to  the  east  of  Curzola.  The  build- 
ings date  from  the  xv  century.  The 
church,  begun  in  1493  and  consecrated  in 
1533,  is  very  plain  but  has  a  graceful  west- 


ern door  with  sculptured  tympanum,  and  a 
rose-window  in  the  gable  above.  The  east 
end  is  square,  the  chancel  being  covered 
Ijy  a  four-part  vault  on  slender  ribs,  and 
the  nave  bv  a  pointed  w-agon-vault.  The 
cloister,  bearing  date  1476,  is  one  of  the 
best  in  Dalmatia.  Triple  pointed  arches 
resting  on  slender  round  columns  are  sep- 
arated by  piers  with  attached  half  col- 
umns. The  arches  are  stilted,  and  cusped 
into  trefoils,  with  carved  spandrels  all 
Venetian  Gothic  in  style. 
CYZICUS.  Asia  Minor. 

Temple  of  the  Emperok  IIadriax, 
now  a  mass  of  practically  unexplored  ruins. 
It  was  begun  in  123  a.d.,  dedicated  in  1(J7. 
and  was  considered  one  of  the  most  splen- 
did edifices  of  its  time.  It  probably  re- 
mained almost  perfect  until  1003,  when  it 
was  thrown  down  in  2)art  by  an  earth- 
quake, and  it  has  since  suffered  greatly 
from  the  depredations  of  the  Turks,  who 
long  used  it  as  a  quarry.  The  temple  was 
of  white  marble,  peripteral,  hexastjde,  with 
fifteen  columns  on  the  flanks,  of  Corin- 
tldan  order.  The  cella  was  relatively 
small,  there  being  neither  ]n'onaos  nor 
opisthodomos,  but  in  place  ol'  the  former 
four  rows,  and  of  the  latter  two  rows  of 
interior  columns,  placed  in  both  cases  in 
the  axes  of  the  columns  of  the  fa9ades. 
The  dimensions  of  the  temple  are  esti- 
mated as  follows  :  Length,  301  ft.;  width, 
IVi  ft.;  cella,  140  ft.  by  ;o  ft.;  diameter 
of  columns,  7  ft.;  height  of  columns,  70 
ft. — the  most  lofty  of  any  classical  tem- 
ple ; — intercolumniation,  il  ft.  It  thus 
appears  that  all  the  dimensions  were  ex- 
act multiples  of  the  base-diameter  of  the 
columns.  The  pediments  were  ornament- 
ed with  sculptures,  which  appear  to  have 
been  placed,  not  in  the  tympana,  but 
on  pedestals  like  steps  along  the  slopes 
above  the  upper  cornice.  The  interior  of 
the  cella  was  surrounded  with  a  range  of 
small  columns  which  supported  galleries, 
and  there  was  a  system  of  crypts  in  the 
substructure.      The   magnificence   of   the 


103 


T)A:\r.\sf'rs 


iTiiirblc  coiling  mikI  jiavpinont  !UT  reconk'd 
l)y  aufieiit  authoi's. 

Tliere  are  important  remains  of  the  walls 


Fig.  60 — Damascus,  Great   Mosque. 

anil  towers,  particulai'Iy  two  line  octagonal 

towers. 

DAMASCUS,  Syria. 

The  Great  Mosque  is  built,  according 
to  tradition,  on  tlie  site  of  an  early  Cliris- 
tian  chun-ii.  perliaps  of  a  still  older  tem- 
ple. It  occupies  a  quadrangle  about  500 
ft.  by  320  ft. — tlie  longer  diameter  east 
and  west.  The  liall  of  worship  (liirai/) 
occupies  the  soutli  side  toward  Mecca — 
a  structure  of  three  long  aisles,  running 
east   and    west,    and    togetlier    about    I'io 


ft.  wiile.  Tliey  are  divided  by  rows  of 
columns  carrying  arches,  slightly  pointed, 
and  a  wooden  roof.  The  columns  which 
support  the  outer  arcade,  next 
the  court,  have  been  built  into 
piers  to  strengtlien  tliem.  In  the 
middle  the  liwan  is  crossed  by  a 
transept,  at  the  end  of  which  is 
the  principal  entrance  from  tlie 
court,  a  trijile  archway,  flanked 
liy  heavy  piei-s.  At  the  intersec- 
tion with  the  middle  aisle  is  a  high 
pointed  dome  on  an  octagonal  drum 
carried  by  four  massive  piers.  In 
the  south  wall  are  four  mi/irabs, 
or  prayer  niches,  assigned  to  the 
different  ilohammedan  sects  that 
divide  Damascus,  the  principal 
one,  liehind  the  dome,  being  that 
of  the  Ilanefites.  Over  them  is  a 
range  of  round  -  arched  windows 
llllcd  with  stained  glass.  The 
open  court  to  the  north  is  sur- 
rounded by  an  arcade  of  round 
arclies  on  sleiuler  columns,  with 
coupled  windows  above  Two 
great  porches  in  the  east  and  west 
axis  of  the  rpuulrangle  give  en- 
trance to  the  court,  and  there  are 
three  minarets  outside  the  en- 
closure, one  at  the  middle  of  the 
iKirtli  front,  one  cacli  at  the  S.  E. 
iiiii]  S.  \V.  corners.  .\t  the  west- 
ci-ii  end  of  the  court-yard  is  a  cu- 
rious little  octagonal  domed  build- 
ing, lifted  into  tlie  air  on  eight 
columns,  with  fiiu^ly  cut  Greco- 
Homan  Corinthian  capitals,  wliicli  carry 
an  architrave.  This  structure,  called 
Kuhbet  -  el  -  Khasneh,  or  Dome  of  the 
Ti-easure,  is  said  to  contain  old  books  and 
treasures.  It  has  no  stairway  and  is  nev- 
er opened.  In  the  early  days  of  Islam 
this  mosfpu'was  renowned  for  its  splendor, 
and  t  here  are  still  traces  of  its  magnificence 
in  remnants  of  mosaic  and  gilding.  Near 
the  central  dome  is  an  elaborate  shrine 
believed  to  contain  the  bead  of  John  the 


irbl. 


DAPHNE 


Baptist,  who  is  licld  in  voverpncc  by  tlie 
Moslems.  Over  tlie  western  porcli  still 
stand  the  remains  of  a  Corinthian  portico 
and  pediment  in  Syrio-Koman  style,  as  old 
as  Jnstinian  or  older,  in  which  a  great 
arch  cuts  out  the  middle  of  the  tympa- 
num, with  the  whole  entablature  bent 
over  it  for  an  archivolt,  as  in  the  palace  at 
Spalato.  The  frame  of  a  doorway  of  the 
same  period  is  imbedded  in  one  of  the 
walls.  A  church  dedicated  to  the  Baptist 
is  said  to  have  been  built  or  restored  here 
by  the  Emperor  Arcadius  at  the  end  of  the 
IV  century.  After  the  Mohammedan  in- 
vasion, we  are  told.  It  was  for  some  time 
used  conjointly  by  Christians  and  Mos- 
lems ;  but  the  Calif  Walid  I.  excluded 
the  Christians,  and  remodelled  it  into  a 
mosque  in  705.  It  was  partially  burned 
at  the  time  of  the  cnisades,  and  destroyed 
by  Timur  the  Tartar  at  the  beginning  of 
the  XIV  century.  It  was  rebuilt  by  the 
Arabs,  but  has  never  recovered  its  splen- 
dor, and  is  now  much  degraded.  Accord- 
ing to  late  news  (1894)  the  mosque  has 
suffered  very  seriously  from  a  recent  fire 
— how  much  is  not  clear.  {See  Fig.  60.) 
RoMAX  Gate,  called  the  Bab  es-Sharki. 
or  East  Gate,  on  the  east  side  of  the  city,  at 
the  end  of  the  ancient  Eoman  coloniiaded 
street   called   the  Via   Eecta.   remains  of 


which    survive   underground. 


The   gate 


has  three  arches,  and  presents  an  imjjos- 
ing  appearance.  The  north  arch  is  )iow 
used,  the  others  being  walled  uji.  The 
central  arch  is  about  39  ft.  high,  witli  a 
sjian  of  nearly  20  ft. 

Triumphal  Akch,  at  the  entrance  of 
the  present  book-bazar,  the  structures  of 
which  mask  it  in  great  part.  At  each  side 
there  is  a  massive  square  pier  ornamented 
with  pilasters.  The  elegant  Corinthian 
capitals  of  these  pilasters  rise  above  the 
roof  of  the  bazar  and  support  the  noble 
arch.  The  frieze  and  cornice  are  finely 
carved.  The  monument  is  about  80  ft. 
wide  and  6.5  ft.  high,  and  formed  the 
western  entrance  to  the  enclosure  of  the 


aiu^ient  temple  whose  site  is  now  occuiiicd 
by  the  Great  Mostpie.      15et\veen  the  arch 
and  the  temjile  extended  a  double  colon- 
nade about  195  ft.  long. 
DAPHNE,  near  Athens,  Greece. 

The  Convent  Chukcii  is  one  of  the 
most  remarkable  Byzantine  churches  in 
Greece,  distinguished  for  the  mosaics  on 
gold  ground  that  line  the  interior,  and 
notable  for  some  difPerences  in  plan  fi'om 
the  usiial  Greek  type.  It  is  small,  like  all 
the  Greek  Byzantine  churches,  making  a 
rectangle  about  50  ft.  by  TO  ft.  There  is 
as  usual  a  central  square  or  nave  covered 
by  a  dome,  but  here  it  occupies  most  of 
the  width  of  the  church,  so  that  all  three 
apses  ojien  from  it.  The  dome  is  not  car- 
ried on  four  main   iiiei's  l)nr  on  longitud- 


Fig.  61. —  Daphne,  Convent   Ccutch. 

inal  walls  that  enclose  the  nave,  and  on  a 

pair  of  piers  between  the  apses  at  the  east 
end,  and  a  similar  pair  between  arches  at 


105 


DKLOS 


the  west.  Dmilili'  sf|uiiic'lics  cut  oti  the 
corners  of  tlie  square  mid  bear  a  ring- 
cornice  on  which  stands  the  drum  of  the 
dome,  dodecagonal  without  and  lighted 
by  twelve  windows.  The  transept-arms 
are  reduct'il  to  nu're  hiteral  vestibules,  and 
small  vaulted  elianibei-s  till  out  the  angles, 
while  a  great  groin-vaulted  narthes,  near- 
ly as  high  as  the  nave,  crosses  the  whole 
front.  The  apses  are  of  the  usual  Byzan- 
tine form — semi-he.xagons  without  and 
round  within,  'i'ranscpt  and  flanks  are 
lighted  liy  tri})le  windows,  with  mullion- 
shafts  and  stilted  round  arches.  Against 
the  south  side  is  a  cloister  of  low  pointed 
arches  on  round  shafts  with  rude  capitals. 
The  convent  covers  the  site  of  a  temple  of 
Apollo,  from  which  several  columns  still 
remain  on  the  site.  {Sec  Fig.  61.) 
DELOS,  Cyclades,  Greece. 

Agora,  adjoining  the  so-called  Troch- 
oidal  Basin,  or  Sacred  Lake.  It  was  iu  the 
form  of  a  rectangle  surrounded  by  porti- 
coes with  double  ranges  of  marble  columns 
— some  of  them  uulinished — open  toward 
the  interior  of  the  agora,  and  closed  by 
walls  at  the  back.  Upon  the  epistyles 
were  cut  inscriptions  in  large  characters. 
chiefly  Koman.  About  the  sides  of  the 
agora  were  moininu^ntal  exedra?,  some  of 
them  decorated  wiih  sculptures  and  mo- 
saics, ami  many  statues  of  Roman  officials 
and  private  lienefactors  of  Delos.  At  the 
nortluTii  side  of  the  court  were  a  series  oT 
small  quadrangular  enclosures  apparently 
ornamented  willi  works  of  art. 

ExEDKA  of  marble,  in  the  Agora.  It  is 
in  part  well  preserved,  aiid  its  floor  is  or- 
namented with  a  mosaic  of  good  workman- 
ship, re])resenting  a  vase,  a  palm,  and 
other  emblems,  and  an  inscription  within 
an  elal)orate  border.  The  remaining  por- 
tion of  the  mosaic  is  altout  (3  ft.  by  0  ft. 
Tlie  colors  are  yellow,  red.  green,  and 
brown.  Kemains  of  other  exedras  exist 
near  those  of  this  one. 

Gymnasium,  near  the  eastern  port. 
This   was    the   chief    cvmnasium    of    the 


island,  and  has  left  considerable  remains. 
In  ])lan  it  was  a  quadrangular  enclosure 
measuring  about  5:^0  It.  round,  having 
on  the  inner  side  a  jieristyle  eiU'losing  an 
oi)en  court,  ^\'ithin  the  peristyle  there 
were  several  chambers  of  diilerent  sizes 
for  the  various  uses  of  those  exercising, 
togetiier  with  exedras  with  white  mar1)le 
seats  for  resting  or  for  si)ectators.  .V 
number  of  monolithic  arches  of  blue  mar- 
ble have  been  found,  of  abcuit  5  ft.  in 
span.  These  belonged  to  an  arcade,  the 
jiosition  of  which  hiis  not  been  determined. 
The  interior  walls  were  coated  with  stucco 
colored  red.  The  discovery  of  a  numlier 
of  ephebic  inscriptions  places  the  identifi- 
cation of  the  monument  beyond  question. 

A  second  Gymnash"M.  n(jrth'  of  the 
Trochoidal  Basin,  had  colunnis  on  at  least 
two  sides.  A  few  are  yet  in  place.  The 
capitals  are  Doric,  of  inferior  style. 

The  IIermaistai,  an  association  of  mer- 
chants and  sailors — esjiecially  of  Romans 
or  Italians — had  a  magnificent  estal)lish- 
nient  about  :31-.>  ft.  by  ;*;30  ft.  situated  be- 
tween the  Temple  of  Apollo  and  the  Sacred 
Lake.  It  comprised  an  open,  trajieze- 
shaped  agora  or  court,  about  "^ISU  ft.  In 
1114  ft.,  suiTounded  on  all  sides  by  Doric 
porticoes,  and  with  one  principal  entrance 
on  the  west  side.  Behind  the  |Mirticoes 
were  buildings  divided  into  rooms  opening 
either  on  the  bounding  streets  or  on  the 
porticoes.  The  buildings  on  the  south  side 
appear  to  have  been  of  more  than  one  story. 
Mai'ble  pilasters  of  Ionic  order  correspond- 
ed to  the  columns  of  the  porticoes  and 
supported  a  massive  entablature.  In  some 
places  there  were  large  recesses  like  rooms 
screened  off  by  Ionic  columns  forming 
a  double  jiortico.  The  ])orticoes  were 
of  marble,  and  all  the  ai-chitectiiral  ele- 
ments have  been  louiid.  Tlie  Uoric 
colunms,  simply  cut  in  facets  liclow,  were 
cluinnelled  as  usual  above.  Traces  of  blue 
ami  red  color  survive  ujion  jiortions  of  the 
entablature.  Tlie  rear  walls  were  built  of 
granite   ashlar   covered    with    stucco    and 


lOS 


DELOS 


painted  red.  The  piirticoes  were  further 
oruaiueiited  with  many  marijle  statues  and 
benclies  and  with  rii-h  mosaics,  and  the 
borders  of  the  central  court  were  adorned 
with  exedras  and  with  statues.  There 
were  cellars  under  the  buildings,  used  as 
storehouses  for  merchandise  and  amphoras 
of  wine.  The  association  and  its  establish- 
ment date  from  about  130  B.C. 

PiuvATE  IIorsE,  of  Alexandrine  epoch. 
There  was  a  central  court  surrounded  Ijy  a 
portico,  with  a  fountain  iu  the  middle. 
Twelve  rooms  have  been  excavated  about 
the  court,  of  which  the  pavement  is  a 
fine  mosaic,  in  which  figure  fish,  flowers, 
and  other  ornaments.  The  atrium  was 
surrounded  by  twelve  Doric  columns  in 
white  marble.  There  are  plentiful  re- 
mains of  private  houses  upon  the  island, 
but  they  are  still  almost  entirely  unex- 
plored, being  under  considerable  masses 
of  earth.  The  interior  walls  of  some 
which  have  been  summarily  examined 
were  found  to  be  covered  with  stucco, 
painted  iu  brilliant  colors,  and  fragments 
of  marble  columns  have  been  discovered 
iu  the  courts. 

Stoa,  to  the  westw'ard  of  the  Temple  of 
Apollo,  near  the  colossal  statue  of  the  god. 
The  bases  of  four  Ionic  columns  are  still 
in  position,  on  a  stereobate  of  two  steps. 
Some  of  the  capitals  lie  near  by,  and  other 
architectural  fragments,  especially  a  piece 
of  the  gutter  decorated  with  the  anthemion 
and  with  lions'  heads,  copied  from  that  of 
the  temjile.  The  work  is  rough,  and  the 
date  late. 

.Stoa  of  Piiilii>.  near  the  smaller  jiro- 
pylasum  and  the  port.  It  was  composed 
of  two  porticoes  more  than  'S'io  ft.  long,  of 
Doric  columns,  one  opening  toward  the 
sea  on  the  west,  the  other  looking  land- 
ward. According  to  the  inscrijjtion  on 
the  architrave,  it  was  dedicated  to  Apollo 
by  Philip  V.,  king  of  Macedon,  sou  of 
king  Demetrius.  It  was  built  during  the 
^lacedonian  domination  over  the  Cyclades. 
between  205  and  IIJG  B.C.     The  columns 


were  channelled  only  in  the  upper  two- 
tliirds,  the  lower  third  being  simply 
planed.  The  echinus  of  its  capitals,  in 
the  form  of  a  truncated  cone,  bears  wit- 
ness by  its  dry  outline  to  the  debasement 
of  Hellenic  architecture. 

Stoa  of  the  Poseij)oniastai,  in  their 
establishment.  The  plan  is  still  undeter- 
mined. In  the  middle  was  a  reservoir, 
about  27  ft.  l)y  19  ft.  Along  its  sides  were 
rough  arcades,  and  the  masonry  of  the 
whole  was  covered  with  cement.  About  it 
was  a  Doric  portico  w'hose  columns  rested 
upon  a  stylobate  of  marble.  Their  chan- 
nellings  are  shallow,  and  the  outline  of  the 
cajjitals  debased.  Four  fragments  of  archi- 
traves bearing  monumental  inscriptions 
with  letters  over  2  ft.  high  have  been 
found  in  the  neighborhood.  They  are  too 
large  to  have  been  connected  with  the  res- 
ervoir portico,  and  belonged  probably  to  a 
system  of  porticoes  enclosing  the  entire  es- 
tablishment similar  to  those  of  the  IFer- 
niaistai. 

Teti{A(K)X  Stoa,  east  of  the  Stoa  of 
Philip.  It  consisted  of  a  Doric  jiortico 
surrounding  a  quadrangular  court.  Be- 
neath the  portico  were  entrances  to  booths 
or  shops  ;  thus  iu  design  it  was  not  unlike 
the  great  enclosure  of  the  Hermaistai.  In 
the  middle  of  the  court  stood  a  rectangu- 
lar edifice  of  Ionic  order,  probably  a  teni- 
jile.  This  stoa  was  built  iu  great  part  by 
Italian  residents,  in  97  B.C. 

Temexos  of  the  Foreign  or  Euvp- 
TIAX  Gods.  The  enclosure,  about  500  ft. 
by  90  ft. ,  occupied  a  long  and  narrow  ter- 
race upon  the  western  slope  of  Mount  Cyn- 
thus.  The  temenos  was,  in  part  at  least, 
paved  with  stone,  and  divided  by  retaining 
walls  into  smaller  terraces  with  steps  of 
marble.  It  contained  one  chief  temple — 
the  Serapeum — a  number  of  smaller  shrines 
dedicated  to  various  divinities,  and  many 
votive  statues,  reliefs,  and  altars.  A  num- 
ber of  the  gods  whose  shrines  adorned  this 
])recinct  were  worship})ed  in  common,  w^ith 
ioint  rites.     Among  the  divinities  so  hon- 


DELOS 


ored  we  find  in  tlie  inscriptions  discovered 
the  names  of  Senipis.  Isis,  Anubis,  Sosis, 
Zeus  Ourios  (of  the  fair  wind).  Aphrodite 
(Astarte).  ApoHo  (Ilarpocrates).  The  wor- 
ship of  the  foreign  gods  was  probably  intro- 
duced in  Delos,  and  this  temenos  founded, 
in  the  course  of  the  li  century  B.C. 

Temple  of  Apoi.i.o.  This  renowned 
temple  was  situated  N.  W.  of  Mount  Cyi\- 
thus,  and  near  tlie  centi'al  or  Sacred  Har- 
liiir.  Its  ])hin  is  very  simihir  to  that  of 
the  so-called  Theseum  at  Athens.  Its  di- 
mensions are  a  little  snuiller.  The  foun- 
dations of  the  temple  were  laid  chiefly  on 
the  surface  of  the  sloping  ground,  and  so 
were  higher  at  the  west  end  than  at  the 
east.  T'hese  substructions  consisted  of  a 
single  course,  about  fj  ft.  wide,  of  huge 
blocks  of  schist  beneath  the  peristyle  col- 
umns, forming  a  rectangular  wall  of  tlie 
same  exterior  dimensions  as  the  temple  it- 
self, and  of  a  solid  mass  of  three  courses 
of  masonry  Ijeneath  tlu;  nella,  of  which  the 
walls  formed  the  chief  weight  to  be  sup- 
ported. The  space  between  the  two  por- 
tions of  the  foundations  is  4  ft.  3  iu.  on 
the  long  sides,  and  9  ft.  at  the  ends  of  the 
temple.  The  space  left  vacant  between 
the  two  walls  was  filled  with  earth  or  rub- 
ble, and  paved  at  tlie  surface  of  the  erepi- 
doma.  The  tem})le  was  Doric,  hexastyle, 
peripteral,  with  thirteen  columns  on  each 
Hank,  resting  on  a  crejiidoma  of  three  steps 
above  the  stereobate.  Its  ground  plan  wiis 
!l(i  ft.  9  in.  by  44  iU  0  in.  ;  the  cella.  or  ft. 
7  in.  by  24  ft.  S  in.  The  celia  comprised 
a  proiiaos.  a  naos,  and  an  opisthodomos. 
The  western  stylobate  was  8  ft.  above 
the  ground.  Access  to  it  was  afforded  by 
steps  of  marble  resting  on  a  sul>struction  of 
schistose  stone.  .\li  the  elenu'nts  necessary 
for  ;i  restoration  nn  paper  (if  the  e.xterior 
have  been  found.  The  metopes  were  un- 
sculptured  ;  but  the  pediments  wei'e  prob- 
a])ly  filled  with  scailptures,  though  no 
fragments  of  such  sculptures  have  been 
identified.  The  cella  frieze  within  the 
peristyle  was    not   decorated,    unless    per- 


haps by  a  running  honeysuckle  ornament, 
or  the  like.  The  peristyle  columns  were 
channelled  only  at  the  base  of  the  shaft 
and  at  the  neck  of  the  capital,  showing 
that  the  edifice  was  never  entirely  finished. 
Their  diameter  at  the  base  was  3  ft.  3  in.  ; 
at  the  neck  2  ft.  3|  in  (?)  ;  their  height, 
including  the  capital,  was  1',  ft.  Be- 
tween the  antie  in  front  and  rear  stood 
two  columns,  similar  to  those  of  the  peri- 
style, but  smaller.  The  intercolumnia- 
tiou.  from  centre  to  centre,  was  about  7 
ft.  8  in.  The  height  of  the  entablature 
was  o  ft.  lOi  in.  ;  of  the  architrave-blocks 
including  the  tajuia  moulding,  2  ft.  <)| 
in.  The  crowning  moulding  of  the  cor- 
nice, forming  the  gutter,  was  decorated 
with  the  anthemion  or  honeysuckle  orna- 
ment, and  with  a  lion's  head  over  every 
triglyph.  The  blocks  of  masonry  were 
secured  together  by  I-clamps  of  iron,  set 
in  lead.  An  inscription  tells  us  that  the 
temple  underwent  repairs  between  Olym- 
piads 110  and  l.jO — probably  in  the  course 
of  the  III  century  B.C.  Scanty  traces  of 
decoration  in  color  survive.  The  material 
used  was  Parian  marble  throughout,  ex- 
cept for  the  rough  foundations.  It  con- 
tained a  colossal  statue  of  Apollo  by  'I'ek- 
taios  and  Angelion,  of  which  some  frag- 
ments have,  it  is  believed,  been  found. 
This  temple,  like  all  Greek  temples  of 
great  religious  or  political  iniportaiu'c.  was 
also  a  depot  of  archives,  a  treasury,  and  in 
a  measure  a  museum,  owing  to  the  works 
of  art  consecrated  in  it.  A  very  rich  .se- 
ries of  in.scriptions.  extending  from  the 
VII  cent.  B.C.  to  the  reign  of  the  Empe- 
ror Titus  (79-81  A.D.),  has  been  found. 
They  not  only  give  very  careful  lists  of 
the  olijects  preserved  in  the  temiile,  but 
make  important  additions  to  our  knowl- 
edge of  Greek  history,  civil  and  religions. 
Primitive  Temi^le  oI'  Ariii.i.n.  li|1(iii  the 
slope  of  Mount  Cynthus,  a  little  below  the 
summit.  This  archaic  sanctuary,  the  re- 
puted birth-})lace  of  A])ollii  and  Artemis. 
and  the  seat  of  one  of   the   reniiwucd  ora- 


108 


DELOS 


cles  of  iintiquity,  was  partly  natural  and 
partly  artitieial.  Th(iugli  rude,  it  is,  in  the 
survival  of  the  interior  aud  exterior  arrange- 
ments connected  with  the  cult,  probably 
the  most  perfect,  surviving  Greek  temjtle. 
A  natural  de2:)ressiou  in  the  rock  some  15 
ft.  square  was  closed  in  front  by  a  wall  of 
rough-hewn  granite  blocks.  In  this  wall 
a  door  was  left  with  sides  inclined  inward. 
Upon  either  side  a  deep  cut  was  made  in 
the  rock  to  receive  the  great  stones  of  the 
ceiling,  which  inclined  against  each  other 
in  the  middle,  forming  a  ridged  roof  19  ft. 
above  the  floor.  The  joints  between  the 
roof-stones  were  filled  to  keep  out  rain- 
water with  a  mixture  of  small  stones  and 
pure  lime — not  mortar.  Above  the  roof 
were  piled  in  confusion  blocks  of  granite. 
'J'here  seems  some  reason  to  believe  that 
the  inner  end  of  the  temple,  behind  the 
statue,  was  never  roofed  over.  If  so,  we 
have  here  an  example  of  an  edifice  hyjiaj- 
thral  in  the  sense  which  was  long  undis- 
puted. The  jjedestal  of  the  statue  was  a 
rough  natural  block — an  omphalos  revered 
as  representative  of  deity  in  remote  an- 
tiquity. It  stood  back  of  the  middle  of 
the  cella.  In  later  times,  a  beautiful 
statue  of  Apollo  in  Parian  marble  was 
placed  upon  it.  Of  this  the  left  foot  and 
a  portion  of  the  plinth  still  remain  ujjon 
the  omphalos.  It  is  estimated  that  the 
figure  was  7  ft.  0  in.  high.  The  sacred 
spring  still  fills  a  cavity  G  ft.  deep  l)eside 
the  ouijjhalos.  In  front  of  the  temple  is 
a  terrace  about  30  ft.  by  40  ft.  communi- 
cating toward  the  sotith  with  a  second  of 
of  about  equal  size,  and  decorated  of  old 
with  votive  inscriptions  and  sculptures. 
In  the  midst  of  it  is  a  circular  base  of 
white  marble  which  bears  still  the  three 
marks  of  the  feet  of  the  tripod  of  Apollo. 
The  position  of  an  altar  is  also  clear. 
Access  to  the  temple  from  the  plain  was 
given  by  a  carefully  constructed  Sacred 
Way  up  the  mountain. 

Tkmple  of  Artemis  (Diana)  or  Arte- 
mision,  near  the  Temple  of  Apollo,  upon 


whose  cult  it  was  dei^endent.  It  contained 
a  celebrated  statue  of  the  goddess.  IIo- 
molle  found  north  of  the  larger  propyla?um 
the  remains  of  an  Ionic  temjjle,  which  was 
probably  this  Artemision.  The  founda- 
tions are  of  very  archaic  masonry  coinjiosed 
of  large  blocks  of  granite  very  imperfectly 
squared  and  joined.  Near  this  building 
Homolle  found  a  number  of  female  stat- 
ues— one  of  them  the  oldest  known  Greek 
statue  in  stone — which  as  he  believes  rep- 
resent Artemis. 

Temple  of  the  Bulls,  east  of  the 
Temple  of  Apollo,  220  ft.  by  29  ft.  The 
long,  narrow  building  running  north  and 
south  was  divided  into  three  parts,  indi- 
cated now  by  massive  foundation  -  walls 
crossing  it  near  the  north  and  south  ends. 
Upon  the  north  foundation  -  wall  rests  a 
marble  sill,  still  bearing  the  bases  of  the 
two  famous  bull -pillars,  consisting  each 
on  the  side  toward  the  middle  of  a  plain 
square  julaster  with  a  cajiital  formed  by 
a  couple  of  kneeling  bulls  carved  in  the 
round  as  far  as  their  shoulders,  and  with 
an  Ionic  architrave  of  three  fascia?  resting 
on  their  necks,  while  the  opposite  half  of 
each  pillar,  toward  the  side-walls  of  the 
temple,  was  a  complete  Doric  semi-columu 
of  late  form.  Against  the  walls  were 
doubtless  placed  pilasters  in  the  line  of  the 
pillars.  The  northern  chamber  was  the 
cella  proper  of  the  temple  and  contains  in- 
dications of  an  altar.  In  it  were  found 
fragments  of  a  frieze  in  low  relief,  which 
probably  surrounded  the  interior.  It  was 
doubtless  separated  from  the  central  hall 
by  -A-  metallic  grating.  The  entire  central 
portion  of  the  middle  gallery  was  paved  at 
a  level  al)out  1  ft.  S  in.  below  that  of  the 
pavement  of  the  narrow  passageway,  even 
with  the  floor  of  the  cella  and  of  the 
pronaos.  which  surrounded  this  depression. 
There  is  reason  to  think  that  each  side- 
wall  was  pierced  with  large  window-bays, 
divided  into  three  lights,  perhaps,  by  small 
monolithic  pilasters  with  Doric  ca])itals.  of 
which  specimens  were  found.     The  south- 


109 


DELOS 


ern  division  of  the  inomimeiit  was  an  or- 
dinary Doric  pronaos  of  four  columns,  jiro- 
style,  the  side-walls  being  extended  so  as  to 
form  ant;e  of  considerable  projection  on 
cither  side  of  the  door- way.  The  triglyph- 
fricze  was  doubtless  carried  completely 
round  the  l)uilding.  There  was  no  gutter. 
All  the  elements  necessary  for  a  restoration 
of  the  roof  have  been  found.  Sockets  were 
cut  in  the  inner  side  of  the  cornice  to  re- 
ceive the  ends  of  the  solid  timber  frame- 
work which  was  left  open.  The  uuiin 
tiles  were  of  marble  about  6  ft.  6  in.  long, 
hollowed  out  in  soffits  on  the  under  side, 
winch  was  also  decorated  in  color.  The 
antefixjB  of  both  cornice  and  ridge  were 
of  elegant  design.  Homolle  believes  that 
this  remarkal)le  building  was  the  shrine  of 
the  famous  Altar  of  Horns,  said  to  have 
been  made  by  Apollo  himself,  and  that 
the  altar  stood  in  the  cella  at  the  northern 
extremity. 

The  Portico  of  the  Bulls,  forming  a 
monumental  whole  with  the  Temjjle  of 
the  Bulls,  was  over  300  ft.  long,  Doric, 
with  a  double  range  of  columns,  and  two 
projecting  wings  with  a  greater  number  of 
ranges  of  columns.  From  the  middle  of 
every  triglyjih  of  the  frieze  projected  a 
bull's  head.  These  triglyphs  were  for- 
merly believed  erroneously  to  belong  to 
the  building  now  termed  the  Temple  of 
tlie  Bulls.  This  portico  was  rich  in  de- 
tail, and  architecturally  magnificent. 

Temple  of  Leto  (Latona),  or  the  Le- 
toiin,  near  the  Temple  of  Apollo.  Ho- 
molle discovered  (1877)  close  to  the  north 
side  of  the  Temple  of  Apollo  the  remains 
of  this  temple,  supposed  at  first  to  be  that 
of  Artemis,  but  now  believed  to  be  that 
of  Leto.  It  was  Doric,  tetrastyle,  aniphi- 
prostyle  ;  grouiul-plan  <i7  ft.  by  37  ft.  7 
in.  It  had  a  pronaos,  naos,  and  opistho- 
(lomos,  and  was  closed  on  the  east  antl 
open  on  the  west  side.  The  material  is 
white  marble,  the  work  careful ;  the 
cornice  like  that  of  the  Temple  of  Apol- 
lo,   the    metopes    polished,    and  traces  of 


painting  on  tlie  triglyphs.  In  date  it  was 
posterior  to  the  Temple  of  Apollo,  and 
probal)ly  built  in  the  course  of  the  iii 
century  B.C. 

The  Temple  of  Serapis,  or  Serapeum, 
in  the  Temenos  of  the  Foreign  (iods,  stood 
on  a  small  terrace  about  3  ft.  aliove  the 
main  terrace.  It  was  placed  exactly  north 
and  south,  the  entrance  being  at  the  south 
eiul,  and  was  of  marble,  consisting  of  a 
simple  cella  and  a  2ii'oiiaos  with  two  plain 
columns  in  anfis.  Its  dimensions  were 
about  23  ft.  by  44  ft.  It  had  no  stereo- 
bate  ;  and  the  walls  rested  u})on  a  single 
foundation-course  of  roughly  hewn  stone. 
There  are  indications  that  the  columns 
of  the  pronaos  were  flanked  by  marble 
screens,  and  that  a  grating  of  metal  was 
fixed  between  them.  These  precautions 
bear  witness  to  the  treasures  ott'ered  by  the 
liious  and  preserved  within  the  temple.  In 
the  middle  of  the  cella  was  a  large  nuirble 
altar,  of  which  the  foundations  are  still  in 
place.  The  roof  was  covered  with  marl)le 
tiles  2'Z  in.  long,  and  4|  in.  thick  in  the 
middle,  whence  the  upper  surface  sloped 
toward  the  sides.  The  lower  end  of  those 
next  the  gutter  was  decorated  with  an  an- 
themion.  The  projecting  gutter  formed 
a  sort  of  cornice  8  in.  deeji,  decorated 
with  lions'  heads.  It  is  possible  that  the 
SeraiH'um  was  also  dedicated  to  Isis,  and 
termed  the  Isieum. 

Theatre  at  the  foot  of  ilount  C'ynthus. 
It  is  partly  excavated  from  the  hill,  but 
the  extremities  are  supported  by  walls  of 
white  marble.  In  plan,  it  is  little  more 
than  a  semicircle.  The  marble  seats  have 
all  disappeared,  but  the  granite  substruc- 
tions remain. 

Wall,  on  the  slope  of  the  tlieatrt'  hill, 
between  the  sanctuary  of  the  Cabiri  and 
the  bed  of  the  Inopus.  It  was  built  of 
large  rectangular  blocks  of  marble,  and 
was  carved  with  inscriptions  in  honor  of 
individuals,  both  foreigners  and  natives, 
and  with  their  busts  in  high  relief,  in  cir- 
cular medallions.     There   are    indications 


DELPHI 


that  tliere  were  several  tiers  of  sculptures 
aud  inscriptions,  one  above  the  other. 
The  medallions  were  tangent  in  couples. 
The  workmanshijD  is  rather  rough.  The 
date  of  this  monument,  unique  of  its  kind, 
is  probably  101  B.C. 
DELPHI"  Phocis,  Greece. 

I'EKiBOLos  or  sacred  enclosure  of  Apol- 
lo, of  great  extent,  occujjying  the  most 
elevated  part  of  Delphi,  and  described  as 
having  many  gates.  Within  it  were  the 
gi'eat  temple,  a  series  of  treasuries  simi- 
lar to  that  at  Olympia,  and  many  minor 
buildings,  besides  countless  works  of  art 
and  other  votive  oSerings.  The  most 
notable  of  the  many  surviving  fragments 
is  the  so-called  Helleniko,  a  massive  wall 
over  350  ft.  long  and  of  considerable 
height,  about  parallel  with  the  polygonal 
wall  of  the  temijle-terrace  aud  with  the 
south  side  of  the  temple.  The  polygonal 
retaiuing-wall  of  the  temple-terrace  has 
been  followed  for  a  length  of  about  250  ft. 
but  was  longer,  and  stands  about  KJ  ft. 
high  at  the  west  end  of  the  explored  jjor- 
tion,  and  about  8  ft.  high  at  the  east  end. 
Transverse  walls  running  north  and  south 
completed  the  su2)port  of  the  terrace, 
which  rested  against  the  natural  slope  on 
the  north  side.  The  wall  is  of  beautiful 
workmanship,  the  stones  being  large,  and 
the  Joints  in  curved  lines  exactly  made. 
The  exjiosed  surface  is  smoothed,  and 
closely  covered  with  inscriptions  of  all 
kinds.  On  top  of  the  polygonal  wall  are 
from  one  to  three  Hellenic  courses,  each 
li  ft.  high. 

Portico  of  the  Athenians,  excavated 
in  1880  by  the  French  School  at  Athens. 
The  jDortico  faced  the  south,  its  back 
being  apjiarently  applied  against  the 
Pelasgic  retaiuing-wall  of  the  terrace  of 
the  Temple  of  Apollo.  It  is  not  yet  en- 
tirely excavated  at  the  east  end,  but  ap- 
pears to  have  been  about  100  ft.  long,  and 
to  have  had  eight  columns  in  front.  The 
depth  of  the  portico,  measured  from  the 
edge  of  the  stylobate,  was  12  ft.    3   in.  ; 


the  height  of  cohiiiuis  10  ft.  They  were 
Ionic,  with  sixteen  Hutes  and  delicately 
moulded  bases,  but  no  capitals  have  been 
found.  The  entablature  was  undoubtedly 
of  wood.  It  is  presumed  that  the  portico 
was  built  about  400  B.C.  after  the  naval 
victory  of  Athens  over  ^^gina,  and  that 
later  trophies  of  the  victories  of  Phor- 
mion  in  429  were  set  up  in  it — perhaps 
affixed  to  the  entablature. 

Temple  of  Athena  Pronoia  (Minerva 
the  Provident),  or,  more  probably,  Pronaia. 
Before  tlie  Temple  (of  Apollo)  in  allusion 
to  the  original  foundation  of  the  goddess, 
which  was  a  small  chapel  witliin  the  sa- 
cred peribolos.  Tlie  temple  was  one  of  a 
group  of  four  at  the  eastern  entrance  of 
the  city,  and  was  recognized  by  Ulrichs  in 
1838  in  the  fouiulatious,  on  the  terrace, 
of  a  circular  temple  of  Doric  order,  with 
fragments  of  columns,  architraves,  tri- 
glyphs,  etc.,  of  fine  workmanship.  Ulrichs 
held  that  this  temple  had  a  jn-onaos  in 
the  form  of  a  portico,  but  was  not  sur- 
rounded by  columns,  its  plan  being  like 
that  of  the  Pantheon  at  Rome.  In  the 
pronaos  stood  a  colossal  statue  of  Athena, 
in  bronze,  given  lay  the  pcojile  of  Mar- 
seilles ;  and  a  smaller  statue  of  the  god- 
dess was  in  the  cella. 

Temple  of  Pythiax  Apollo,  built 
after  the  destruction  by  fire,  in  548  B.C., 
of  an  earlier  temple  described  as  of  great 
size  and  admirable  construction.  But 
a  small  part  of  the  foundation  of  tiie 
temple  remains  above  ground,  and  no  ex- 
cavations of  much  extent  have  been  made. 
The  architect  was  Spintharos,  of  Corinth. 
The  order  was  Doric,  and  the  building 
was  presumably  hexastyle.  The  jiortions 
of  columns  found  on  the  site  are  in  tufa 
(Poros),  coated  with  a  flue  stucco,  aiul 
have  twenty  channels.  Upon  the  archi- 
trave were  affixed  shields  taken  at  Mara- 
thon and  from  the  Gauls.  The  metopes 
of  the  east  front  reiJresented  scenes  from 
the  Labors  of  Hercules,  Bellerophon,  and 
the  Chimajra,  and  episodes  of  the  wars  of 


DERAT 


gods  iiiul  giants.  The  sculptures  of  the 
east  pediment  represented  Ajiollo,  with 
Artemis,  Leto,  and  the  Muses  :  those  of 
the  west  pediment  Bacelius  surrounded  by 
liis  attendant  Thyiades.  They  were  by 
the  Athenians.  Praxias  (a  pupil  of  Kala- 
mis)  and  Androstlienes.  Within  the  cella, 
before  the  statue  of  Apollo,  was  the  fa- 
mous omphalos  stone — the  reputed  cen- 
tre of  the  earth — the  sacred  hearth  on 
wliieh  burned  the  eternal  fire,  an  altar  to 
Poseidon,  and  statues.  The  walls  of  the 
cella  were  decorated  with  jiaintings.  The 
chamber  behind  the  cella  was  the  adytnm 
or  sanctuary  of  the  Pythian  oraele.  It 
contained  a  gilded  statue  of  Apollo,  and 
over  the  fissure  in  the  ground  from  which 
the  prophetic  afflatus  emanated  was  i:)laced 
the  lofty  trijiod  upon  which  the  Pythia 
seated  herself  to  receive  the  divine  inspira- 
tion. 

Theatre,  within  the  peribolos  of  Apol- 
lo. As  late  as  the  xv  cent,  it  remained 
in  very  perfect  condition,  but  it  is  now 
built  over  by  the  houses  of  the  village,  and 
in  great  measure  destroyed.  Many  scat- 
tered fragments  of  walls,  and  remains  of 
the  scats  of  the  auditorium,  are,  however, 
still  visible.  The  diameter  is  about  200  ft. 
UERAT  (anc.  Edrei),  TIauran,  Syria. 

Kanatir  Firaun  (Pharaoh's  Arches), 
a  great  aquciluct  said  to  have  been  built 
by  the  Ghassanid  king,  Jebeleh  I.  It  is 
about  sixty  miles  long  and  crosses  all  de- 
pressions by  bridges.  It  feeds  a  large 
reservoir  in  Derat,  near  which  is  an  an- 
cient building,  prolialily  a  bath. 
DER  EL-ASHAIR,  Syria. 

Roman  Tempi.e,  Ionic,  on  a  basement 
10  ft.  high  which  rests  on  a  jilatform  of 
masonry.  The  platform  is  surrounded  by 
a  balustrade,  and  the  basement  by  a 
moulded  cornice.  The  interior  is  orna- 
mented with  pilasters,  above  which  ]irob- 
ably  stood  small  Ionic  columns,  several  of 
which  lie  on  the  ground. 
DER  EL-KALA,  on  Mt.  Lebanon,  Syria. 

Temple   of   Jupitep.    (Baal),  Balmar- 


codcs  (of  dancing-festivals  ?).  The  sub- 
structions survive,  105  ft.  by  53  ft.,  built 
of  large  drafted  blocks.  Some  portions  of 
the  columns  also  remain  ;  these  formed  a 
prostyle  portico  of  two  rows  of  four  col- 
umns before  the  cella.  The  columns 
were  about  G  ft.  in  diameter  and  as  im- 
posing as  those  at  Baalbek.  Kear  by  por- 
tions are  seen  of  the  Phaniician  peribolos 
or  inclosure,  built  of  enormous  hewn 
blocks. 
DIABEKIR,  Asia  Mim.r. 

Great  Mosque,  a  building  of  unknown 
age,  on  a  site  once  occupied  by  a  (,'hris- 
tian  church,  and  previously  by  a  Pagan 
temple.  It  has  the  common  form  of  a 
court-yard  surroixnded  Ijy  porticoes  and 
small  buildings,  the  fourth  being  occupied 
by  the  sanctuary.  The  porticoes  and  ar- 
cades are  supported  by  elaborately  sculjjt- 
ured  columns.  Here,  it  is  conjectured, 
was  the  forum  of  the  Roman  city.  Most 
of  the  buildings  now  bear  inscriptions  cut 
in  C'ufic  letters,  the  work  of  the  Moham- 
nu'dan  conquerors.  The  sanctuary,  or 
mosque  j)roper,  is  said  to  l)e  much  older 
than  the  surrounding  buildings,  and  was 
originally  a  temple.  The  front,  uncom- 
promisingly plain,  is  of  dark  ])asalt.  The 
interior  is  divided  into  three  long  aisles 
running  east  and  west,  crossed  at  right  an- 
gles I)y  a  high  transept.  The  heavy  divid- 
ing arcades  consist  of  great  rounil  arches, 
above  which  is  a  row  of  smaller  ones. 
The  ancient  altar  stood,  it  is  said,  on  the 
south  side  of  the  building.  All  the  for- 
mer decoration  is  now  concealed  liy  wliilc- 
wash. 

DIANO.     See  Tf(j(jiano. 
DrnY:\r.V.     See  'Bnuichuhr. 
1)1  M  1  M,  near  Volo,  Thessaly,  Greece. 

Domical  Tomb  or  tholos,  of  the  same 
character  as  those  at  Menidi,  Mycense,  Or- 
chomenos,  Pharis,  and  the  Ilerajum  of  Ar- 
golis.  In  its  dimensions  (interior  height, 
3'.)  ft.  6  in.,  lower  diameter,  27  ft,  11  in., 
height  of  doorway,  11  ft.  in  in.)  and  its 
constrn(;tion    of    small,     rougiily    Ijrokeu 


112 


no DON A 


blocks  of  limestone,  it  is  ('losely  parallel  to 
the  first  of  those  tombs.  The  apex  was 
closed  by  a  circular  block  :!  ft.  ;  in.  in 
diameter.  The  door  wa.s  ajiproached  as 
usual,  by  a  walled  drunuix  or  passage. 
Within  the  tomb  were  found  objects  of 
gold,  glass,  bone,  bronze,  stone,  and  a  few 
fragments  of  vases,  all  of  Mycena?an  char- 
acter. 
DODO^'A,  Epirus,  Greece. 

Acropolis.  The  massive  fortification- 
wall,  from  10  ft.  to  IT  ft.  thick,  is  now 
nowhere  over  10  ft.  high  ;  the  length  of 
the  quadrilateral  circuit  is  about  half  a 
mile.  Part  of  the  wall  is  ancient  polygo- 
nal. Ijut  most  of  it  is  Hellenic  of  a  good 
time.  There  are  towers  on  three  sides  of 
the  fortress.  The  interior  is  full  of  Hel- 
lenic ruins  which  are  still  unexplored.  This 
site  was  recognized  as  that  of  Dodona  in 
1873. 

The  Saxctuary  of  Zeus,  the  seat  of 
the  famous  oracle,  contained  two  temples 
of  no  great  size,  of  which  some  architect- 
ural remains  survive.  On  the  foundations 
of  the  chief  of  these  temples  was  built 
a  Christian  church,  now  destroyed.  A 
number  of  bronzes,  inscribed  utensils,  and 
small  figures  of  Zeus  have  been  found  here. 
There  exist  also  remains  of  a  square  build- 
ing, perhaps  a  lodging  for  priests,  and 
some  portions  of  the  peribolos  wall.  Xear 
the  wall  are  seen  traces  of  a  number  of 
votive  monuments,  including  substruc- 
tions, pedestals,  and  pilasters  for  offerings 
of  various  kinds.  Kear  by  is  the  site  of  a 
temple  of  Aphrodite,  which  was  identified 
by  the  objects  dug  up. 

Theatre,  one  of  the  largest  and  best 
preserved  of  Greek  monuments  of  this 
class.  It  is  in  part  excavated  from  the 
Acropolis  hill,  in  part  supjiorted  by  retain- 
ing-walls  of  excellent  masonry  which  at- 
tain a  height  of  over  72  ft.  The  diameter 
of  the  cavea  is  4'2G  ft.,  which  is  greater 
than  that  of  Epidaurus.  There  are  arches 
in  the  substruction  of  the  front  walls. 
Two  flights  of  stejjs  along  the  front  walls 


facilitate  access  to  the  cavea,  aiul  two 
more  are  carried  up  to  the  txpper  gallery 
along  tiie  curved  walls  of  the  back.  There 
are  eight  radial  flights  of  steps  below  the 
diazoma,  which  has  a  double  passage,  and 
sixteen  above  it.  Forty-nine  tiers  of  seats 
are  visible,  but  more  exist  beneath  the 
present  surface.  The  orchestra  and  stage 
structure  are  as  vet  unexcavated. 
DRAM YSSU>S,  Epirus.  Greece. 

Theatre.  The  peribolos  wall  nf  the 
ancient  sanctuary,  which  is  1.5  ft.  to  '^O  ft. 
high  and  flanked  with  towel's,  forms  an  ir- 
ri'gular  quadrangle,  partly  adapted  to  the 
requirements  nf  the  site  of  the  theatre, 
the  middle  part  of  which  is  excavated  from 
the  hill.  The  ends  of  the  cavea  consist  of 
great  masses  of  masonry,  faced  with  rect- 
angular stones,  fitted  without  cement. 
U'he  substructions  of  the  scena  are  .still 
to  be  seen.  In  plan,  the  theatre  is  little 
more  than  a  semicircle  ;  greater  diameter, 
400  ft.,  orchestra,  80  ft.  The  seats,  sixty- 
live  or  sixty-six  rows,  are  divided  by  two 
diazomata  or  horizontal  passages,  and  there 
is  a  passage  round  the  top  with  remains  of 
a  portico.  The  seating  capacity  was  about 
twenty  thousand. 
KDESSA  (Grfa,  anc.  Kolias),  Syria. 

AxciENT  Walls  of  the  city,  which  was 
in  plan  an  irregular  triangle,  with  the 
citadel  at  the  X.E.  angle.  The  walls  are 
contemporaneous  with  those  of  Antioch, 
which  they  resemble  closely,  but  are 
much  more  pei-fect,  and  present  an  im- 
posing aspect,  being  studded  with  many 
square  towers.  The  castle  or  citadel  is 
about  1300  ft.  long  and  325  ft.  wide,  and 
has  fifteen  towers  in  its  outer  walls  ;  it 
was  altered  and  strengthened  by  the  Cru- 
saders, who  liuilt  the  keep. 
EGESTA.  See  Seyesta. 
ELATEA,  Phocis,  Greece, 

Temple  of  Athexa  Kranaia,  within 
the  sanctuary  north  of  the  city.  It  con- 
tained a  statue  by  the  sons  of  Polycles, 
representing  the  goddess  armed  for  liattle  ; 
her  .shield  was  carved  in  imitation  of  the 


HL-HAK'A 


t^liiuld  cil'  the  statue  (if  the  I'artlieni.)ii  at 
Athens.  'I'lie  temple  occupied  araised  ter- 
race witliin  the  sacred  enclosure,  on  tlie 
liighest  part  of  the  rocky  eminence,  and 
one  of  its  flanks  was  supported  by  a  solid 
rotaiiung-wall  extending  above  the  stereo- 
bate  of  tlie  temple,  so  that  on  this  side  the 
colnmns  were  crowded  against  the  wall. 
Tlie  diameter  of  tlie  columns  at  the  base 
is  2  ft.  (i  ill.  There  were  six  on  the 
fronts,  and  thirteen  mi  the  flanks;  and 
the  dimensions  of  the  temple  were  very 
nearly  the  same  as  those  of  the  Theseum 
at  Athens.  The  material  was  Poros  stone. 
Capitals  of  two  types  were  found,  one 
presenting  the  curve  of  a  good  period  of 
art,  the  other  having  a  straight  protile, 
and  the  thin  abacus  of  a  later  date.  The 
metopes  (witliout  sculpture)  and  tri- 
glyphs  were  cut  on  the  same  blocks,  like 
those  of  the  Proiiyhea  at  Athens.  Xo 
fragments  of  pediment  sculptures  were 
found.  The  roof-tiles  and  the  antefixes, 
decorated  with  antheniia,  were  of  terra- 
cotta, and  tiie  cornice  was  crowned  with 
a  gutter  in  terra-cotta,  bearing  lion  heads 
and  anthemioii  -  mouldings  of  excellent 
design,  and  traces  of  color.  The  tensile 
was  oriented  north  and  south. 
EL-BAKA,  Syria. 

This  abandoned  town  of  the  V  to  vii 
cent.  A. II..  preserves  several  of  its  streets 
paved  with  large  blocks  of  irregular 
shapes,  and  a  number  of  dwellings  and 
other  buildings  closely  resembling  those 
of  the  Hauran  (q-v-),  and  almost  perfect 
except  for  their  gabled  wooden  roofs. 
The  groups  of  houses  have  a  plain  wall 
on  the  street,  with  one  door,  square-head- 
ed or  arched,  leading  into  an  oblong  in- 
terior court.  On  one  side  or  more  of  the 
court  there  are  arcades  or  porticoes  in  two 
stories.  The  capitals  are  usually  of  calyx 
form,  with  varietl  (u-nament.  Behind  the 
arcades  open  ehanibers  of  moderate  size. 
The  floors  are  of  flat  slabs  of  stone.  The 
masonry  of  the  walls  is  in  large  blocks 
without  mortar.     The  doors  and  windows 


opening  on  the  arcades  are  often  sculpt- 
ured with  vine-leaves,  acanthus  designs, 
vases  with  peacocks,  etc.,  and  Christian 
emhlems  occur.  Among  the  buildings 
are  two  (diurches  of  the  usual  early  Sy- 
rian plan  :  sinqjle  basilicas  with  nave, 
aisles,  and  a  single  apse  hidden  liehiiul 
a  straight  east  wall,  the  areaik's  bin'iie  on 
columns. 

In  the  rv'e<-nipolis  tliei'e  are  interesting 
rock  -  tmiibs.  and  also  tombs  built  of 
masonry.  Among  the  latter  are  three 
which  consist  of  a  cubical  base  supjiort- 
ing  a  hollow  pyramid.  One  of  these  has 
around  its  substructure  three  tiers  of  low 
pilasters  and  two  ornate  friezes.  A  door 
ojiens  into  the  interior  of  these  tombs  and 
sarcophagi  were  ranged  around  the  walls. 
ELEUSIS,  Attica,  Greece. 

The  Peribolos,  or  sacred  eiudosure  of 
the  (ireat  (ioddesses  (Demeter  and  Perse- 
phone), enclosing  the  i^clris  or  Sanctuary 
of  the  Mysteries,  and  a  iiumliei'  of  shrines 
and  temples,  was  girt  with  double  walls, 
having  a  considerable  sjiace  between  them, 
and  ill  later  times  the  inner  court  was 
[laved  witii  slabs  of  Poros.  The  court  was 
ornamented  with  many  statues  and  other 
votive  dedications,  and  contained  inscribed 
.slabs  in  large  number. 

(i HEATER  Propyl.i:a,  or  entrance  gates 
to  the  outer  enclosure  of  the  sacred  peribo- 
los. The  gates  face  the  N.  E.  The  mon- 
ument is  a  close  imitation,  of  Alexandrine 
date,  in  Pentelic  marble,  of  the  Propyla;a  of 
the  Athenian  x\cropolis.  An  ascent  of  six 
stejis  led  to  a  ]iortico  of  six  Doric  col- 
umns, Avith  a  doulile  interior  range  of  six 
Ionic  columns  before  five  doorways,  the 
middle  one  being  the  widest,  and  a  Doric 
portico  on  the  S.  W.  similar  to  that  on  the 
N.  E.  The  ground-]ilaii  is  70  ft.  square. 
The  lateral  walls  terminated  in  aiita'  on 
each  front.  The  dimensions  of  the  Ionic 
columns  (twenty-four  flutes)  were  :  lower 
diameter  3  ft.  4  in.,  upjier  'i  ft.  '.)  in., 
height,  estimated,  '.Vi^  ft.  ;  columns  of  ex- 
terior order  (twenty  channels),  lower  di- 


ELKrsis 


amoter,  '>  I't.,  upper.  4  It.  'I'lie  coffers  of 
tlie  eeiliug  were  deeorateil  with  star-like 
figures  in  the  eeutral  field,  ami  painted 
mouldings. 

Lessek  Pkoi'YL.k.v,  or  gates  of  the  inner 
enclosure.  This  monument,  whose  ground 
plan  was  39  ft.  l>y  4!l  ft.  T  in.,  dated  from 
the  second  half  of  the  iv  cent.  B.C.,  and  was 
restored  by  Appius  Claudius  Pulcher,  three 
hundred  years  later.  It  consisted  of  three 
gates,  with  an  approach  between  parallel 
walls,  and  with  two  columns  before  the 
separating  piers,  something  in  the  manner 
of  a  temple  in  aiifis.  The  capitals  of  the 
Eoman  restored  anta?  are  richly  carved 
w^ith  griffins,  and  Ijore  tripods.  The  ves- 
tibule is  raised  Ijy  two  steps  above  the  level 
of  the  outer  court,  and  is  paved  with  large 
blocks  of  marble.  The  central  doorway. 
35  ft.  from  the  front,  was  11  ft.  4  in. 
wide.  The  inclined  plane  to  the  door  re- 
tains marks  of  wheels.  TMie  pivot-holes  of 
the  doors  and  the  grooved  (piadrants  for 
their  rollers  show  that  they  must  have  been 
massive  and  heavy,  and  this  testimony  is 
confirmed  by  that  of  inscriptions  rccentlv 
discovered. 

The  Seko.s.  or  sanctuary  for  the  per- 
formance of  the  Eleusinian  .Mysteries  was 
a  rectangular  building,  in  its  latest  form 
184  ft.  by  221  ft.  including  the  portico 
44  ft.  3  in.  deep  on  the  east  front.  The 
portico  had  twelve  columns  in  front  and 
one  on  each  flank.  Access  to  the  in- 
terior was  afforded  by  six  doors  ;  two  on 
the  east  of  the  portico,  and  two  each 
on  the  north  and  south,  between  the  six 
rows  of  seven  columns,  running  north  and 
south  of  the  interior.  The  whole  interior, 
except  at  the  doorways,  was  surrounded  by 
a  tier  of  seven  steps,  forming  seats  for  the 
initiated  during  the  mystei'ies.  These 
seats,  and  the  floor  also  at  the  back  of 
the  building,  were  hewn  from  the  rock  ; 
in  the  other  portions,  as  the  rock  slopes 
dowmward  toward  the  east,  the  seats  were 
built  up,  and  the  earth  filling  of  the  floor 
was  probably  covered  with  a  pavement  (jf 


I'oros  .slabs.  The  walls  were  about  4  ft. 
thick,  and  built  of  a  double  range  ol 
bloeks  of  the  local  stone,  resting  on  a 
stereobate.  The  six  rows  of  interior  col- 
umns, seven  in  each,  stood  on  the  native 
rock  toward  the  back  of  the  building, 
and  were  carried  on  built-up  foundations 
toward  the  front  ;  they  were  of  Poros 
drums,  uufluted,  with  circular  bases  of  the 
local  stone,  the  bases  having  a  diameter  of 
about  4|  ft.,  and  a  height  of  about  one 
foot.  The  columns  of  the  portico  were  of 
Pentelic  marble,  and  are  shown,  by  the 
channelling  existing  only  at  the  toj)  and 
the  bottom  of  the  surviving  drums,  never 
to  have  been  finished.  From  the  great 
depth  of  the  jrortico.  and  the  absence  of 
any  trace  of  an  interior  range  of  columns, 
it  must  have  had  a  ceiling  of  wood.  The 
frieze  did  not  bear  sculptured  ornament,  as 
a  plain  metope  has  been  found.  The  later 
adjunction  of  the  portico,  as  set  forth  by 
Vitruvius,  is  plainly  shown  by  the  struct- 
ure and  character  of  the  foundation,  where 
those  of  the  portico  are  fitted  to  those  of 
the  sekos.  The  existing  remains,  as  now 
studied,  permit  the  distinguishing  of  six 
constructional  ]ieriods  in  the  history  of 
the  sekos,  as  follows  :  1.  The  most  archaic 
building,  of  which  the  walls,  jDresuma- 
bly  of  unburned  brick,  rested  on  founda- 
tions of  polygonal  ma.sonry.  2.  The  Ijuild- 
ing  which  may  have  been  burned  by  the 
Persian  invaders,  about  one-quarter  the 
size  of  the  latest  development  of  the  sekos, 
and  presenting  the  same  jilan  and  pro- 
portional relations  of  cella  and  portico, 
witii  five  interior  rows  of  five  columns 
each.  3.  The  i)robable  provisional  restor- 
ation of  Xo.  2,  having  the  same  width  of 
front,  but  lengthened  at  the  rear,  and 
with  only  three  rows  of  at  least  six  col- 
umns each.  4.  The  building  of  the  cella 
in  its  present  plan,  liy  Ictinus,  under  the 
administration  of  Pericles,  but  with  only 
five  rows  of  interior  columns  and  wide  iu- 
tercolumniations.  .5.  The  addition  of  the 
front  portico  of  fourteen  marble  columns, 


EMl'OLT 


toward  tlie  end  of  the  iv  cent.  B.C.,  by 
Philon,  wlio  WH.s  also  the  architect  of  the 
great  arsenal  at  tjie  I'ira'us.  H.  A  later 
remodelling  of  the  temple,  probably,  from 
the  roiigliness  of  the  work,  iinder  Roman 
auspices,  when  the  supports  of  the  inte- 
rior assumed  the  form  of  seven  rows  of 
six  columns.  According  to  Vitruvius,  the 
sekos,  as  built  l)y  Ictinus,  was  of  Doric  or- 
der ;  and  Plutarch  speaks  of  it  as  haviTig 
two  stories,  'i'jiere  is  a  difference  of  opin- 
ion as  to  wlietiier  this  sekos.  or  place  for 
the  celebrtition  of  tlie  mysteries,  was  also 
the  temple  of  Demeter  ;  but  it  is  probable 
that  the  temple  proper  was  an  independent 
building.  The  investigation  made  by  the 
Society  of  Dilettanti  afforded  very  in- 
complete and  even  incorrect  results,  owing 
to  the  occui)ation  of  the  site  by  many 
houses.  Almost  all  we  know  of  the  build- 
ing has  been  gained  since  1882,  by  the  ex- 
cavations of  the  Archtvological  Society  of 
Athens. 

There   are   also    renuiins   of   a   theatre. 
partly  excavated  in  rock  and  partly  formed 
of  masonry.     Some  of  the  rows  of  seats  are 
still  recognizable. 
EMPOLi.  Italy. 

C'HIESA  CoLi.EiiiATA.  'Pile  collegiate 
church  of  S.  Andrea  may  almost  be  called 
a  group  of  churches,  so  many  and  large 
arc  its  chajH'ls.  It  is  a  rebuilding,  dating 
])artly  from  tlie  beginning  of  the  xvii  cent, 
and  partly  from  the  middle  of  the  xvin. 
of  the  origintd  xi  cent,  basilica.  The 
main  churc'h.  about  liU  ft.  by  i:i()  ft.,  has  a 
flat-ceiled  nave  4'i  ft.  wide,  without  aisles, 
bordered  by  five  scpuire  chapels  on  each 
side,  beiiind  round  arches  in  the  intervals 
of  an  order  of  Corintliian  pilasters  on  liigli 
j)cdestals.  'i'lic  clerestory  is  faced  with  an 
order  of  loiuc  jjilasters  with  a  wide  seg- 
mental-arched  window  in  each  interval, 
and  a  broad  arch  spans  each  transept  end, 
springing  from  the  eutabhiture  of  the  first 
order.  The  small  square  choir  is  covered 
by  a  lu'inispherical  dome,  aiul  separated 
from  tlie  crossiuir  bv  an  arched  vestibule. 


flanked  by  shallow  rectangular  chapels. 
Very  long  vaulted  chapels,  ending  in  domes, 
tlank  botii  sides  of  the  choir  and  the  north 
end  of  the  transept.  A  small  (iotliic  cani- 
^lanile  stands  adjacent  to  the  south  wall 
of  the  church.  Only  the  lower  jiart  of  the 
facade  sIioavs  the  work  of  the  old  church, 
dating  from  1093.  according  to  its  in- 
scriptions. It  has  a  blind  arcade  of  five 
round  arches  on  C'orinthianesque  half  col- 
umns^  The  door  occupies  the  middle 
arch  ;  in  the  others  circles,  squares,  and 
crosses  are  inlaid  in  lihick  and  white  marble 
in  Pisan  fashion.  Above  is  a  curlx'l-table 
on  lions"  heads. 

Madoxxa  del  Pozzo  (of  the  Well), 
a  small  xvi  cent.  Renaissance  church,  re- 
markable for  the  picturesque  disposition 
(if  its  parts.  It  consists  of  a  nave  with 
plain  walls,  covered  by  a  barrel-vault  with 
foiii-  lunettes  in  each  side  enclosing  small 
s([uare  windows,  and  opening  by  a  single 
round  ari'li  into  a  lofty  choir  in  the  shape 
of  a  laterally  elongated  octagon  in  two 
stages,  covered  by  a  domed  vault  crowned 
liy  a  small  lantern.  The  nave  is  enclosed 
on  three  sides  by  a  vanlted  arcade  with 
round  arches  supported  on  slender  col- 
umns. The  octagonal  choir  rises  to  near- 
ly twice  the  height  of  the  nave,  and  each 
face  has  a  single  blind  arch  sjiringing  from 
flat  angle  pilasters.  The  dome  is  dis- 
guised under  a  low  octagonal  roof.  At  the 
north  side  of  the  choir  is  a  slender  square 
camiianile  in  three  high  stages,  ending  in 
an  open  belfry.  The  church  ajipears  to 
have  been  begun  about  l.")"2'-i.  but  the  dome 
and  the  exterior  arcades  are  a  century  later, 
while  the  tower  was  added  as  late  as  179"). 
KPIIESrs  (Ayasalouk),  Asia  Minor. 

Basilica.  -t-H)  ft.  long,  near  the  Mag- 
nesian  (iate  and  the  ( iymnasiuiii.  The 
street-l'i'oul  cousisted  of  a  hexastyle  Ionic 
portico  of  ujiite  marble  ;  tlie  architrave 
had  iiancllcd  soffits,  and  the  frieze  was 
convex.  There  were  recesses  along  tlie 
sides  of  tlic  building,  aiiparently  liooths, 
and  a  curved  apse. 


EPIIESUS 


DoriiLE  CurRcir.  This  is  really  two 
Byzantine  cliu relies,  an  earlier  and  a  later, 
and  practically  of  the  same  plan — a  nave 
in  three  bays,  ending  in  an  eastern  apse 
whicli  is  round  within  and  masked  out- 
side by  a  straight  wall,  and  flanked  by 
thin  chapel-like  recesses  on  each  side. 
The  eastern  church  is  wholly  of  stone, 
the  western  one  of  brick,  and  the  two  are 
telescoped  together,  as  it  were,  so  that  the 
eastern  wall  of  the  brick  church  is  the 
western  wall  of  the  stone  one  ;  the  first 
being  eutei'ed  at  the  front  and  the  second 
at  the  sides. 

Great  Gymxasum,  an  enormous  struct- 
ure close  to  the  port.  The  ruins  are  of 
great  extent  ;  the  central  corridor,  run- 
ning from  north  to  south,  is  over  500  ft. 
long.  Four  colossal  granite  columns  of 
the  ephebeum  lie  as  they  have  fallen  ; 
four  others  may  be  seen  in  the  Great 
Mosque  of  Ayasalouk.  The  remains  are 
especially  remarkable  for  the  huge  vaulted 
substructions  of  tlie  platform  on  which 
the  building  rested ;  these  consist  of  a 
great  number  of  corridors  crossing  one  an- 
other at  right  angles,  and  were  rendered 
necessary  by  the  fact  that  the  site  was 
originally  part  of  the  interior  harbor. 

Gyjixasium.  near  the  Magnesian  Gate, 
on  the  north  side  of  the  city.  It  is  an 
immense  rectangular  structure,  surround- 
ed by  a  cryptoporticus  full  of  exedrae, 
decorated  on  the  south  side  by  a  screen 
with  marble  figures  of  Persians  nearly  1 1 
ft.  high.  Within  the  south  portico  is  an 
open  palffistra,  23ii  ft.  by  65  ft.,  and  within 
that  are  an  epJiebeiiin,  or  exercising-court, 
80  ft.  by  46  ft.,  with  chambers  on  each  side 
of  it,  and  therm*  or  baths.  On  the  north 
side  is  a  sp1i(erideriuw,  or  court  for  ball 
playing.  135  ft.  by  30  ft. 

Odei'M,  on  the  south  slope  of  Mt.  Pion 
or  Prion.  Iniilt  jirobably  in  the  first  half 
of  the  II  century.  It  is  semicircular ; 
the  exterior  diameter  153  ft.,  that  of  the 
orchestra  30  ft.  ;  the  width  of  the  stage  is 
10  ft.     The  exterior  wall  of  the  cavea  is 


l)uilt  of  large  blocks  of  limestone,  without 
mortar;  the  stage -structure  is  of  white 
marble.  In  Wood's  restoration,  the  cavea 
has  a  single  precinction  ;  the  lower  range 
of  seats  has  fourteen  tiers  in  five  cunci, 
the  upper  range  thirteen  tiers  in  ten 
cunei.  Back  of  the  iipiier  range  there 
was  a  covered  portico,  supported  by  Corin- 
thian columns  with  shafts  of  Egyptian 
syenite  and  cajjitals  of  marble.  The  stage 
wall  had  five  doors,  and  was  adorned  with 
Corinthian  columns  of  white  marble. 

The  Prison  of  St.  Paul,  so-called 
on  the  faith  of  a  very  old  tradition,  is 
a  massive  tower  about  50  ft.  square,  of 
Hellenic  construction,  on  a  hill  which 
forms  a  part  of  the  system  of  defense 
established  by  Lysimachos,  in  290  B.C. 
The  interior  is  divided  into  four  rooms, 
all  the  doors  having  heads  in  the  shape 
of  pointed  arches  formed  of  horizontal 
courses  corbelled  out.  The  upper  floors 
of  the  tower  were  not  vaulted,  but  were 
formed  of  wood. 

Prytaneum  (or  Curia?),  on  the  east 
side  of  the  Forum,  near  the  Theatre. 
It  is  a  very  fine  stone  building,  about  250 
ft.  square,  with  solid  piers  of  masonry, 
well  built  of  large  blocks  of  marble.  It  is 
probably  of  the  first  century  a.d. 

The  Stadum.  north  of  the  Great  Thea- 
tre, was  built  probably  in  the  time  of 
Augustus.  Its  length  east  and  west  was 
753  ft. ,  its  breadth  98^  ft.  The  south  side 
rested  on  the  solid  rock  of  the  liill,  while 
the  seats  on  the  north  side  were  raised  upon 
vaulted  substructions,  which  were  contin- 
ued around  the  semicircular  or  east  end. 
Along  its  whole  length  was  a  double  col- 
onnade, connected  with  the  terrace  of  the 
stadium  Ijy  stairways  about  50  ft.  apart. 
The  shafts  of  its  columns  were  of  gray 
granite,  the  other  j>arts  of  white  marble. 
The  west  end  was  adorned  with  an  open 
columniated  screen  in  two  tiers.  The 
seats,  of  white  marble,  have  been  used  in 
the  construction  of  a  mosque.  There  were 
facilities  for  transforming  the  rounded  end 


in 


EPIIESUS 


of   the   st;i(liiiin    into  ail   ampliitlicatre  of 
llir  iliaiiU'tiT  (if  ahiHlt   l-'lD  ft. 

IJdMAN  l't:.\iiM>i;.  S.  W.  oi'  the  (Jrcat 
Thouti'c,  near  the  Agora.  It  lias  heen  in 
great  measure  despoiled  hy  tlie  Turks.  Imt 
ill  Chandler's  time  was  a  very  beautiful 
ruin.  He  supposed  it  to  have  been  either 
the  temple  erected  to  the  god  Julius  by 
])ermissioii  of  Augustus,  or  (more  proh- 
aiily)  tliat  dc(lioated  to  Claudius  Cajsar  on 
liis  ajjotheosis.  It  was  Corinthian  in  aiifis, 
with  four  columns  lictwecu  the  ant;v  ; 
ground-plan  about  Kii)  ft.  by  80  ft.:  col- 
umns, base-diameter,  4|  ft.,  height,  4:0^  ft. 
The  shafts,  '.]'.)  ft.  long,  were  monolithic. 
The  entablature  was  richly  scnliUinxMl  ; 
the  frieze  was  of  ogee  profile. 

The  Temple  of  Artemis  (Diana),  or 
Artemisioii,  half  a  mile  outside  the  gates 
of  the  old  town,  was  several  times  rebuilt. 
The  most  famous  building  was  begun  in 
the  VI  cent.  B.C.  ;  the  foundations  were 
laid  on  a  layer  of  charcoal  and  fleece  of 
wool  at  the  suggestion  of  Theodoras  of 
Samos,  to  overcome  the  treacherous  nature 
of  the  damp  grouml.  It  was  finished  about 
■iOO  B.C.  and  was  burned  by  Ilerostratus  in 
;55l)  B.C.  The  new  temple  was  probably 
begun  soon  after,  on  the  designs  of  Deino- 
crates.  Alexander  the  (Jreat  offered  to  fur- 
nish the  money  if  the  Ephesians  would  put 
his  name  on  the  temple  as  the  dedicator, 
but  the  people  refused.  It  was  plundered 
and  burned  by  the  Goths  about  263  A.D., 
and  was  excavated  in  18G9-74  by  Wood, 
who  found  remains  under  23  ft.  of  soil,  de- 
posited by  overflows  of  the  river  Caystros. 
The  tem^Dle  stood  on  a  platform  lying 
nearly  east  and  west ;  in  plan,  measured 
on  the  lowest  of  its  fourteen  (?)  steps, 
it  was  418  ft.  by  239  ft.  It  was  Ionic, 
oetastyle,  dipteral,  with  twenty  columns 
on  each  flank  ;  the  lower  diameter  of  the 
columns  was  (1  ft.,  their  height  .").")  ft. 
!i  in.  The  columns  of  the  pronaos  and 
opisthodomos  had  admirably  sculptured 
di-iims.  ])erliaps  by  Scopas,  above  their 
bases.     The  exterior  columns  had  twentv- 


four  flutes,  the  interior  twenty-eigjit.  In- 
tercolumniations  of  front  and  rear  were  28 
ft.  8  in.  in  the  centre,  graduated  to  1!)  ft. 
4  in.  at  the  ends  ;  on  tlu^  flanks  it  was  17 
ft..  I)ut  111  ft.  4  in.  at  the  ends.  The 
frieze  was  sculptureil  with  mythological 
subjects  ;  the  cyina  decorated  with  a 
honeysuckle  ornament,  interrupted  by 
lion-heads.  The  cella.  about  70  ft.  wide, 
consisted  of  a  pronaos,  with  two  col- 
umns /;/  tnilix.  the  ccUa  ])ro])cr,  a  rear 
chambci-.  am]  an  oiiisthodoinos.  In  the 
iiitcrioi'  was  a  (liiul)le  range  of  columns, 
the  lower  Ionic,  the  upper  (jorinthian. 
The  statue  and  altar  of  the  goddess,  Di- 
ana of  the  Ephesians.  were  at  the  east 
end.  The  nuiterial  of  the  temple  was 
whitt'  marble  from  the  quarries  of  the 
Koressos,  five  miles  distant.  The  roof 
was  covered  with  large  white  niariile  tiles. 
Tli(i  temple  was  surrounded  by  a  portico 
25  ft.  wide,  at  a  distance  of  ;io  ft.  from  the 
lowest  step,  and  stood  within  a  lai'ge  en- 
closure or  periiiolos.  A  church  was  begun 
later  witliin  the  walls  of  the  eella,  but  was 
left  unfinished. 

The  TuEATiti:  on  the  west  .slope  of  Mt. 
I'ion  is  mentioned  in  the  Acts  of  the 
Apostles.  The  superstructure  and  sculpt- 
ures are  Koman.  but  the  substructure  is 
(ireck.  In  jilan  it  is  greater  than  a,  scnii- 
cirtde  ;  the  longer  axis  is  49.")  ft.,  but  the 
distance  across  the  ends  of  the  semicircle 
is,  according  to  Wood,  only  467  ft. :  the  di- 
ameter of  the  orchestra  is  IKI  ft.  (Leake 
makes  the  diameter  060  ft.,  and  that  of 
the  orchestra,  240  ft.).  The  stage  was 
nearly  22  ft.  wide.  In  Wood's  restoration 
the  cavea  is  divided  horizontally  by  two 
jirecinctions  ;  in  the  lower  range  are  four- 
teen tiers  of  seats  in  eleven  cuiiei.  in  the 
middle  range,  twenty-two  rows  in  eleven 
cunei.  and  in  the  upper,  twenty-five  tiers 
ill  twenty-two  cunei.  Above  the  seats  was 
a  gallery  witli  a  covered  portico  beliind  it. 
The  estimated  capacity  of  the  theatre  is 
twenty-four  thousand  five  hundred  specta- 
tors.    TJie  back  wall  of  the  stajje  was  al- 


KriDAiiirs 


most  entirely  of  white  marble,  adoriieil 
with  granite  eolumiis  and  a  rich  eutaliia- 
ture  of  white  marble  iu  two  tiers. 

Tomb  or  St.  Lukk,  so-called.  S.  E.  of 
the  Odeum,  excavated  by  J.  T.  Wood  in 
186-4.  It  is  probably  of  the  end  of  the  in 
or  tlie  beginning  of  the  iv  centnry.  It 
stood  in  tlie  middle  of  a  quadrangle.  1.53  ft. 
square,  paved  with  nuirble  and  surrounded 
by  a  colonnade.  In  Wood's  restoration  the 
tomb  is  circular,  surmounted  by  a  dome, 
and  with  a  i)eristyle  of  sixteen  Ionic  col- 
umns on  a  high  stylobate,  supporting  an 
ornate  entablature.  IJiameter  of  the  peri- 
style, 50  ft.;  of  the  cella,  34  ft.;  height 
about  -47  ft. 

Roman  Tru-.mpiial  Am  ii,  of  a  single 
opening  with  ornamental  imposts,  adjoin- 
ing the  Stadium  at  its  west  end.  It  is  an 
imjiressive  object  in  the  landscape,  but  it 
is  of  late  date,  and  i.s  built  entirely  of 
marble  blocks  taken  from  earlier  build- 
ings. 
EPIDAURUS,  Argolis,  (Jreece. 

The  IIiEROX,  or  Sanctuary  of  Asklepios 
(^Esculapius),  about  five  miles  west  of  the 
city,  is  still  called  Ilieron.  In  ancient 
times  it  was  one  of  the  most  frequentetl 
places  of  resort  for  invalids,  the  priests  of 
the  god  being  skilled  in  medicine.  The 
temple  became  rich  in  gifts,  and  so  famous 
that  a  deputation  was  sent  from  Rome  H'Xo 
B.C.  during  a  pestilence  in  that  city,  to  se- 
cure one  of  its  sacred  serpents.  The  site 
of  the  sanctuary  is  shut  in  on  two  sides  bv 
steep  hills  and  on  the  other  two  by  a  wall, 
still  traceable  in  several  jjlaces.  On  the 
north  side  the  enclosure  was  formed  by 
contiguous  porticoes.  The  Temple  of  As- 
klepios stood  near  the  centre  of  the  enclos- 
ure, which  contained  also  the  so-called 
Tholos  of  Polycletns,  the  hospital  or  edi- 
fice provided  to  shelter  the  invalid  vota- 
ries of  the  god.  and  many  other  buildings 
and  temples. 

Hospital,  a  long  portico  beside  the 
temple  of  Asklepios,  in  wliich  the  supjili- 
ants  of  the  god  spent  the  night,  ho^iing 


that  lie  would  appear  to  tlieni  in  their 
sleep  and  heal  them.  Tlie  building  was  a 
stoa  or  portico  ^38  ft.  long  and  32  ft. 
wide.  It  was  divided  into  two  wings  by  a 
cross  partition  in  the  middle,  and  a  central 
row  of  Ionic  columns  extended  throusli 
both  wings.  The  front,  toward  the  temple, 
was  ojjen,  the  roof  resting  upon  an  entab- 
lature supported  by  Ionic  columns.  In 
the  interior  were  set  up  slabs,  one  of  which 
survives,  ui)on  which  were  inscribed  the 
miraculous  cures  effected  by  the  god.  In 
the  S.  E.  angle  of  the  building  there  ex- 
ists still  a  well  about  82  ft.  deep,  with  an 
abundant  supply  of  water. 

Odki'-M.  of  Roman  construction,  excav- 
ated in  1891  south  of  the  Propylffia.  It 
was  built  in  part  on  and  over  an  ancient 
Doric  peristyle  enclosure.  The  cavea  re- 
tains nine  tiers  of  seats,  and  has  but  one 
stairway,  which  divides  it  in  the  middle. 
The  retaining  walls  {((iialeminata)  of  the 
wings  are  jiarallel  to  each  other.  The  or- 
chestra is  paved  with  a  mosaic  in  pebldes, 
and  the  stage  remains  raised  about  3  ft. 
The  old  Doric  peristyle  apjiears  to  have 
belonged  to  a  gymnasium  of  the  best  Hel- 
lenic time,  upon  the  ruins  of  which  the 
Odeum  was  built. 

Pkopyl.^A,  probably  of  the  old  gymna- 
sium over  which  the  Roman  Odeum  was 
afterward  built.  In  plan  it  resembles  a 
small  temple  with  two  columns  in  ciJitis 
facing  the  north,  the  place  of  the  jjronaos 
wall  being  occupied  by  two  columns,  also 
///  aiifis.  The  south  end  is  closed  by  a 
wall,  which  was  probably  added  when  the 
Odeum  (q.  v.)  was  built,  at  which  time  the 
propyla?a  seem  to  have  been  made  into  a 
temple,  perhaps  of  Hygeia.  A  large  open 
portico  of  six  columns  in  front  and  four 
on  the  flanks  forms  a  vestibule  to  the 
propylffia  on  the  north  ;  a  ramp  leads  wp 
to  the  wide  central  intercolumniation. 

Stadium,  formed  by  an  earthen  embank- 
ment. It  is  very  dilaiiidated.  but  there 
are  indications  of  twenty-one  rows  of  seats 
resting  directly  on  the  embankment.    The 


nu 


KI'IDAUKUS 


widtli  is  about  '2Wi  It.,  width  of  arena.  Ts 
ft.  ;  traceable  length  :S(iO  ft.  to  -400  ft.  lie- 
sides  the  semicircular  terininatioti. 

The  Tkmple  of  Aktkmis  (Diana)  witli- 
iu  the  peribolos  was  Doric,  on  a  stjdobute 
of  three  steps,  prostyle,  hexastyle,  with  a 
column  on  each  side  between  the  angle- 
column  and  the  anta.  4-1  ft.  3|  in.  bv  ol 
ft.  I)  in.  it  was  built  of  Poros  stone,  ex- 
cept tile  marble  pavement,  and  the  cornire 
and  roof-tiles  of  marble.  There  was  a 
range  of  columns  round  tiie  interior  of 
the  cella.  The  cornice  was  carved  with 
dog-heads  in  place  of  the  u.sual  lion-heads. 

The  Temple  of  Asklepios  (^'Escula- 
]iius)  contained  a  chryselephantine  ;-tatue 
of  the  god.  half  the  size  of  the  colossal 
statue  of  Olympian  Zeus  at  Athens.  The 
remains  of  this  temple  have  been  identified 
and  explored  carefully  by  the  Archwolog- 
ical  Society  of  Athens.  It  was  a  Doric 
peripteros  of  six  columns  by  eleven,  81  ft. 
long,  and  4:3  ft.  wide.  Many  fragments  of 
sculpture  from  the  pediments  have  been 
found,  all  of  excellent  workmanship.  In 
the  eastern  pediment  was  reprcsenteii  a 
combat  of  Centaurs  aiul  Lapitlis  ;  in  the 
western,  a  scene  of  uncertain  subject,  in 
wliieh  took  part  Amazons  botli  mounted 
and  on  foot,  male  figures,  and  Nereids  rid- 
ing on  hippocamps. 

Tiieatue,  just  without  tln'  sacred  iiei-i- 
hnlos  of  Askk'iiios.  I'ausanias  tells  us  tiiat 
it  was  designed  by  the  great  I'olycletus, 
who  flourished  in  the  v  cent.  li.c.  and 
tliat  it  was  well  woi'th  seeing  both  for  its 
size  and  for  its  beauty  of  arrangement  and 
ornament.  The  cavca  is  excavated  from 
the  slope  of  afootliill  of  Mt.  Kynortion. 
and  faces  west  of  north.  It  is  in  many  re- 
spects the  most  perfect  surviving  example 
of  a  Hellenic  theatre.  The  arc  of  the 
eavea  is  greater  than  a  semicircle.  Its 
diameter  is  about  41.">  ft.,  and  its  axis, 
from  the  centre  of  the  circle  of  the  orches- 
tra to  the  exterior  wall  above  the  cavca. 
about  20.")  ft.  It  is  divideil  into  two  zones 
Ijy  a  (li(t7.oma  or  precinctiou  :  and  jn'esents 


an  exceptional  arrangement,  in  that  the 
diazoma  consists  of  two  passages,  one  at  a 
higlier  level  than  the  other,  the  upjier  one 
scarcely  2  ft.  broad.  The  lower  zone  of 
the  cavea  is  divided  into  twelve  irrii'ilcs 
or  wedge-shaped  divisions  by  thirteen  /■/('- 
iiiakcft  or  radial  flights  of  stejis.  These 
klimakes  are  continued  through  the  up- 
per zone  to  the  terrace  T  ft.  A  in.  broad 
above  the  tlieatre.  The  upper  zone  is 
further  sulxlivided  l)y  twelve  intermediate 
klimakes  into  twenty-four  kerkides.  Ac- 
cess to  the  cavea  was  afforded,  besides  that 
from  below  through  the  orchestra.  In- 
doors in  the  wall  enclosing  the  upper  ter- 
race and  by  stairways  ahmg  the  snpj)ort- 
ing-walls  (((iialvinimilii)  of  the  wings,  lead- 
ing to  the  diazoma.  No  remains  of  a 
portico  aliove  the  cavea,  as  indicated  l)y 
\'itrnvius,  exist  either  in  this  theatre  or 
in  any  other  of  purely  Greek  arrange- 
ment. The  uj)per  zone  contains  twenty 
tiers  of  ordinary  seats,  the  lower  thirty-two. 
There  are.  moreover,  three  tiers  of  thrones 
or  seats  of  honor — one  tier  on  eitlier  side 
of  the  broader  passage  of  the  diazoma,  and 
tlie  third  immediately  encompassing  the 
(irehestia.  The  thrones  differ  from  the 
or<linary  seats  in  that  they  have  backs, 
and  are  carved  with  mouldings.  Thrones 
and  seats  ai'e  constructed  of  the  wliile 
limestone  of  the  neigliborhood,  the  blocks 
being  fastened  together  by  iron  clamps  set 
in  lead.  The  supporting  -  walls  of  the 
wings,  and  the  surviving  substructions  of 
the  stage,  are  built  of  tufa.  The  orches- 
tra is  about  8.")  ft.  in  diameter.  It  con- 
sists of  two  ])arts — a  passage  paved  with 
stone  before  the  base  of  the  lower  row  of 
thrones,  and  the  orchestra  proper,  which 
is  a  circle  with  a  radius  of  40  ft.,  extend- 
ing toward  the  stage  beyond  the  j)lan  of 
the  auditorium.  The  floor  of  the  passage 
is  8  in.  lower  than  tliat  of  tlie  circle,  and 
discharges  through  drains  the  rain-water 
falling  in  the  cavea.  The  circle  is  curbed 
with  stoiu' :  its  sui'face  is  n<it  |ia\ed.  but 
is  formed   of  a  earefnllv  laid    bcil   of  salul 


F.KH'l'IIIA 


anil  iislii's  {/i-iiin's — lieiicc  tlic  am-icut  name 
iviiixfra).  At  the  centre  is  emheddeil 
a  cylindrical  stone,  pierced  with  a  deejt, 
round  hole,  in  which  was  fixed  the  fltijindi', 
or  altar  of  Dionysos,  around  which  the  cho- 
rus moved.  The  stage-structure  was  built 
in  lionian  times.  The  Inijuisl-cnion  (pro- 
scenium) or  wall  forming  the  front  of  the 
stage  toward  the  orchestra  was  built  of 
white  limestone,  and  ornamented  with 
eighteen  Ionic  semi-columns  of  Attic  de- 
sign, and  an  Ionic  entablature.  The 
stage  buildings  and  the  ajiproaehes  to  the 
theatre  were  adorned  witli  statues,  many 
fragments  of  which  have  been  found.  In 
the  jiassages  [parodoi)  at  either  extrem- 
ity of  the  stage  were  double  gateways,  giv- 
ing access  to  the  orcliestra  and  to  tlie 
stage  -  buildings,  and  at  the  same  time 
forming  an  architectural  connection  be- 
tween the  stage  and  the  auditorium.  The 
excavations  of  the  Athenian  Archajological 
Society  since  1S81  have  shown  the  incor- 
rectness of  the  accounts  of  this  tlieatre 
given  jjreviously  by  Donaldson,  lilouet, 
Wieseler,  C'anina.  and  others. 

TllOLOs,  near  the  temiilc  of  Asklejjios, 
and  the  upper  eiul  of  the  stadium.  It 
was  a  circular  building  of  white  marble, 
designed  by  Polycletus  the  younger.  The 
building  resembled  in  jilan  such  circular 
temples  as  the  Philijipeum  at  Olym- 
pia  :  it  was  lu-obably  built  as  a  monu- 
mental shrine  for  the  sacred  fountain  of 
Asklepios.  The  circular  cella  was  sur- 
rounded by  a  range  of  Doric  columns, 
and  had  an  interior  range  which  is  of  an 
early  and  interesting  form  of  Corinthian. 
The  pavement  of  the  cella  was  su]ij)orted 
upon  elaborate  foundations,  of  which  three 
walls  forming  concentric  circles  consti- 
tuted the  main  feature.  The  diameter  of 
the  tholos  was  71  ft.  All  the  remains  of 
this  building,  particularly  the  fragments 
of  the  sculptured  frieze,  in  refincnu'nt  of 
design  and  of  technical  execution  can  be 
compared  with  the  remains  of  the  Ereeh- 
theum  at  Atliuns. 


EEETIIIA,  Eubu^a,  ffreece. 

TiiiCATKi:.  The  cavea  is  snppoi-te<l  by 
an  artificial  embankment,  and  has  been 
only  in  part  excavated,  disclosing  some  of 
the  seats  and  stairways  of  Poros  stone  in 
place.  In  plan  it  is  a  little  over  a  semi- 
circle. The  diameter,  taken  at  the  high- 
est part  of  the  embankment,  is  26o  ft.  !» 
in.,  at  the  lowest  tier  of  seats,  81  ft.  1  in. 
There  are  in  the  cavea  eleven  cuxvi  or 
wedge-shaped  divisions,  between  twelve 
flights  of  steps.  There  is  evidence  that 
there  was  a  diazomu,  or  horizontal  pas- 
sage of  communication.  In  front  of  the 
lowest  seat  was  a  drain  lined  with  stone, 
the  lining  of  the  inner  side  forming  the 
curb  of  the  orchestra  throughout  the  half- 
circle,  the  diameter  of  the  orchestra, 
measured  across  the  curb,  being  GO  ft.  (i 
in. ;  its  surface  was  formed  of  beaten  earth, 
or  earth  and  cinders.  In  later  times  the 
cavea  drain  appears  to  have  been  covered 
over  to  form  a  platform  for  thrones  of 
honor.  The  most  remarkable  feature  of 
the  orcliestra  is  an  underground  jDassage, 
-p  ft.  high  and  3  ft.  wide,  extending  from 
"its  centre  to  a  point  behind  the  pro- 
scenium wall  of  the  stage,  formed  of  two 
courses  of  large  blocks,  the  lower  course 
upright,  and  the  blocks  of  the  upper 
I'ourse  inclined  so  as  to  meet  and  roof  in 
the  passage.  This  passage  evidently  sup- 
plied the  means  for  the  actors  to  pass  un- 
seen from  the  stage -structure  to  the 
middle  of  the  orchestra  and  there  to  ajj- 
pear  amid  the  chorus,  as  in  the  case  of 
apparitions  from  the  lower  world.  Since 
this  discovery  at  Eretria,  similar  disposi- 
tions have  been  recognized  by  the  Ameri- 
can School  in  the  theatre  of  Sioyon.  and 
by  the  (ierman  Institute  in  those  of  Mag- 
nesia and  Tralles.  The  remains  of  the 
stage-structure  are  interesting,  and  show 
modifications  of  at  least  three  ejiochs. 
First,  there  is  the  structure  of  the  iv 
cent.  i;.c..  ;i  back  wall  with  three  doors, 
and  on  the  flanks  projecting  wings,  each 
with  mie  door  communicatinif  with  a  series 


121 


EKYX 


of  chambers  behind  them.  Second,  at  a 
considerably  hiter  time,  a  new  back  wall 
was  l)uilt,  also  with  projecting  side  winijs, 
and  with  a  hall  behind  divided  by  a  longi- 
tudinal range  of  columns.  At  the  same 
time,  the  level  of  the  orchestra  seems  to 
have  l)een  lowered,  and  to  give  access  from 
behind  to  the  orchestra  an  iiiidergronnd 
passage  about  1<)  ft.  high  and  (i^  ft.  wide, 
roofed  with  a  true  vault,  was  carried  from 
outside  the  hall  to  the  front  of  the  wall. 
The  passage  is  contemporaneous  with  the 
wall,  with  which  its  masonry  is  bonded. 
At  the  orchestra  end  the  passage  was 
closed  by  a  door,  and  steps  lead  down 
from  it  to  the  level  of  the  orchestra. 
Third,  a  decorative  front  or  proscenium, 
as  at  Sicyou,  Epidaurus,  etc.,  was  erected 
l)etween  the  two  projecting  wings.  This, 
which  is  about  7-5  ft.  long,  was  ornamented 
with  twelve  Doric  semi-columns  and  two 
antfe,  the  intercolumniations  being  closed 
by  slabs.  The  total  height  of  the  jiros- 
cenium  is  estimated  at  about  11  ft.  There 
was  a  double  door  in  the  middle,  opening 
on  the  orchestra. 

Walls.  The  entire  circuit,  including 
the  acropolis,  is  about  two  miles.  The 
ramparts  of  the  lower  town  are  most  com- 
plete on  the  east  side  ;  they  consist  of  a 
foundation  8|  ft.  thick,  faced  on  each 
side  with  coursed  masonry,  and  filled  in 
with  rammed  earth.  The  upper  surface 
of  the  foundation  is  horizontal,  and  the 
superstructure  was  of  unburned  lirick,  as 
at  Mantineia.  The  line  of  the  wall  forms 
a  .series  of  obtuse  angles,  long  straight 
stretches  being  avoided,  and  was  strength- 
ened by  massive  square  towers  at  inter- 
vals of  about  180  ft.  At  the  S.E.  two 
circular  towers,  about  'Z'.i  ft.  in  diameter, 
were  built  tangent  to  the  wall.  The  ex- 
terior wall  of  the  acropolis  is  a  little  less 
than  7  ft.  thick,  the  filling  almost  entirely 
of  snudl  stones  instead  of  rammed  earth, 
as  in  the  lower  tower,  and  the  wall  was  of 
stone  to  its  full  height  instead  of  having 
a  superstructure  of  unburiu'd  brick.     It 


was  also  strengthened  with  square  towers, 
and   notably   by   four   large  and  nuissive 
gate-towers  of  fine  masonry  with  a  sharp- 
cut    edge    at    the   tower    angles.     These 
towers  are  additions,  built  either  against 
or  across  the  wall.     One  tower  still  rises  to 
a  height  of  nearly  Ki  ft. 
EHYX.     See  Mijiifi'  San  (iiiili<iii(i. 
ESKl  ADALIA.     See  >/V/r. 
ESKl-HIS.SAK.     See  Slniliniim-a. 
EUHOMUS.     See  rahkli. 
EYUK,  Caj]i)adocia,  Asia  .Minor. 

lIiTTiTi-:  I'ALAf  K.  like  that  of  Hoghaz 
Keui,  and  closely  analogous  to  those  of 
Xineveh.  Its  artificial  terrace  measures 
about  8"-i0  ft.  to  a  side,  and  still  rises  to 
a  height  of  about  40  ft.  Its  angles  are 
oriented  with  the  cardinal  j)oints.  Its 
chief  doorway,  11  ft.  2  in.  wide,  has  on 
either  side  a  rude  S2)liinx  sculptured  in 
full  face  and  jJerhaps  somewhat  Egyptian 
in  character,  replacing  the  Assyrian  hu- 
njan-licadcd  bulls.  The  walls  of  the  vesti- 
bule are  adorned  with  reliefs  of  similar 
character  to  those  of  lasili  Kaia  at  Boghaz 
Keui.  Among  them  is  noteworthy  a  seat- 
ed female  figure  with  long  robe,  iipturned 
shoes,  hair  in  ringlets  on  her  shoulders. 
elaborate  necklace  and  bracelets,  and  IkjIiI- 
ing  in  one  hand  a  cup.  in  the  oilier,  ap- 
])arently,  a  branch  of  flowers. 
KZR.V  (Zora).  llauran.  Syria. 

The  Catiiedkal  is  alniost  the  only  one 
of  the  ancient  churches  of  central  Syria 
that  is  still  used  as  a  Christian  church, 
retaining  its  old  form.  It  is  in  plan  a 
s<(uare  of  about  00  ft.,  the  corners  cut  off 
to  make  an  octagon  and  occupied  by  semi- 
circular niches.  Inside  this  an  octagonal 
nave  is  built,  leaving  an  aisle  between. 
The  inner  octagon  consists  of  eiglit  ])iers, 
carrying  arches  that  su2')2)ort  a  windowetl 
octagonal  drum,  which  bears  a  high, 
pointed  dome  of  circular  plan,  united  to 
the  drum  by  successive  courses  of  stones 
corbelled  out  over  the  angles.  The  east- 
ern side  opens  into  a  choir  of  one  rectan- 
gular l)ay,  and  an  ajjse,  round  within  and 


F.ESFL^E 


hexagoHiil  without.  About  the  wall  of 
the  ajjse  are  built  seats  for  the  elergy. 
In  tliree  other  faces  are  liigli  arclied  ojien- 
ings,  (livideil  by  transoms  for  square- 
headed  doors,  the  western  of  whicli  is 
flanked  bv  two  lesser  doors  of  like  form. 
The  masonry  is  all  very  jjlain,  of  squared 
stone,  except  the  dome,  which  is  nf  rub- 
ble. Over  the  main  door  are  sculptured 
Christian  emblems,  and  an  inscription 
that  gives  the  date  ol.j  .v.n. 
F.ESUL.E.  See  Fie>'oh\ 
FALEHII.     See  Sla.  Maria  dc  Fallcrii. 


in  the  iiavc.  At  the  bottom  are  three  fine 
doorways,  covered  with  traceried  cano- 
pies. The  apsidal  end  of  the  nave  finishes 
in  a  rich  crown  of  gables  and  pinnacles, 
and  heavy  flying  buttresses  spring  over 
tiie  aisles.  Apf)areutly  the  church  was 
iu)t  roofed,  and  the  vaulting,  cemented  on 
the  outside,  was  the  only  covering,  as  in 
other  churches  of  Cyprus.  The  English 
have  lately  undertaken  to  restore  the 
cliurcli.     (/See  Fi(j.  (i.i.) 

St.  Sophia  is  a  ruined  church  of  some 
size,  about  80  ft.  by  l.iU  ft.,  considerably 


4 


Fig.  62. — Famagusta,  Cathedral. 


FAMAGUSTA  (Famagosta),  Cj'prus. 

The  Cathedral  of  St.  Xicholas,  now  a 
mosque,  was  built  under  the  Lusignan 
kings  of  Cyprus,  and  probably  near  the  be- 
ginning of  the  XIV  century.  It  is  a  lai-ge, 
three  aisled'  Gothic  cliuroh.  nearly  200  ft. 
long  and  100  ft.  wide,  without  transept, 
and  ending  in  tliree  eastern  apses.  The 
vaulted  nave  and  aisles  are  in  seven  bays, 
and  tliree  chapels  which  open  out  of  the 
aisles  have  eastern  apses.  The  handsome 
front,  now  somewhat  dilapidated,  has  two 
great  towers  over  the  ends  of  the  aisles, 
and  between  them  a  larare  traceried  window 


older  than  the  cathedral,  being  transition- 
al, and  having  its  arched  openings  j'artly 
pointed  and  partly  round.  It  has  nave  and 
aisles  in  five  bays,  and,  as  is  usual  here, 
three  ap.ses,  which  are  round.  Against  its 
south  side  is  an  older  and  smaller  church, 
more  oriental  in  style,  of  two  aisles  each  in 
four  bays,  alternately  domed  and  vaulted. 
The  main  arches  are  pointed,  the  piers 
square  and  plain,  the  two  apses  semicircu- 
lar within,  but  hardly  projecting  through 
the  east  wall. 

FANO  (anc.  Fanum  Fortune),  Italy. 
Trii-jiphal  Aroh,  erected  in  honor  of 


laa 


FERENTINO 


Augustus,  pi-ohiibly  (luring-  liis  reign.      It  wider.      'I'lic    uninterrupted     ri>;e    of    the 

spans  the  Fhuniniau  Way,  and  still  forms  vaulting  shaftiJ,   except  for   the    Ixiiiding 

one  of  the  gates  of  the  city  under  the  name  rings,  is  an    improvement  mi  earlier  t'is- 

of    Porta    Maggiore.       Tlio    ground-plan  tei'eian  wdrlv  :   the  foliage  of   the   capitals 

measures  .")S  ft.  Ijy  IGft. ;  the  height  to  the  is  pure  Gothic  ami  strongly  French.     The 

top  of  the  entablature  is  38  ft.     There  are  nave  is  narrow  and  the  transverse  arches 


three  archways  ;  the  middle  one  is  19^  ft. 
wide  and  2(iJ  ft.  high,  the  side  ones 
about  (i  ft.  wide  and  14  ft.  high.  Con- 
stantine  built  above  tlie  entablature  an 
attic  of  seven  arches  with  eight  Corin- 
thian llutcil  columns  between,  parts  of 
only  two  of  which  are  standing.  Tliere 
are  inscrii)tions  on  both  entablature  and 
attic.  Tlie  material  is  ashlar  of  white 
marble. 

FFltKNTIXO  (the  Latian  Ferentinum), 
Itulv. 
St-V.  .Makia  Maouioi!!.;  is  a  cruciform 
church,  built  after  a  Cistercian  model  dur- 
ing the  first  half  of  the  xiri  cent.,  and  re- 
stored before  its  close.  Tiic  length  of  the 
churcii  is  \->',  ft.:  its  apse  is  square,  and  it 
originally   had  four    square    side-chapels. 


low  and  ])ointed.  giving  a  domical  char- 
acter to  the  vaulting.  There  arc  three 
bays  to  the  nave,  one  to  the  transept  and 
one  to  the  apse.  The  four  piers  at  the 
intersection  are  finely  grouped.  Modern 
stucco-work  has  partially  concealed  the 
original  details.  The  windows  in  tlie  apse 
are  advanced  in  style,  while  the  facade  is 
transitional.  A  ])hiin  octagonal  domical 
tower  covers  the  intersection.  [.\.  L.  F., 
.Ir.] 

FERENTO  (the  Etrurian  Ferentinum). 
Italy. 
AxciEXT  TllEATKE.  restored  in  inij)erial 
times.  It  stands  in  a  plain  on  tlie  briidv 
of  a  precipice,  overhanging  a  wooded  ra- 
vine ;  the  seats  of  its  cavea  were  supported 
bv  a  massive  arcadcd  wall,  which  is  still  in 


The  style  is  early  Cistercian  Gothic,  more     great  part  standing.     The  plan  is  semicir- 

advanced  than  Casamari.    Its  inner  arches     cular  :  the  greater  diameter  is  exactly  200 

are  all  poiuted,  and  its  nave  and  aisles  are     ft.:  the  depth  of  the  stage  is  33  ft.     The 

_  cavea  is  very  ruinous :  no  seats 

remain  and  pai't  of  the  rear  wall 
is  g(jne.  'i'his  wall,  probably  Ito- 
man.  is  of  large  uniform  blocks 
of  gray  tufa,  fitted  without  ce- 
ment. The  scena  is  held  to  be 
tlu'  best  preserved  of  any  theatre 
in  Italy.  It  Is  built  of  large 
blocks  of  stone  to  the  height  of 
tell  courses,  upon  wliich  rests  a 
mass  of  lioman  brick-work.  The 
stage  wall  has  seven  portals  closed 
.ibdve  witli  flat  stone  arches,  all 
iif  admirable  and  massive  mason- 
ly  laid  without  cement.  This 
wall,  whose  length  is  13G  ft.,  may 
be  of  Etruscan  origin.  The  thea- 
tre, with  its  massive  arches,  forms 
in  its  abandonineiit  a  higlilv  iin]iosiiig  ruin. 
FKRI.'AKA,  Italy. 
Castello    Vecciuo.    tlie    Old    Castle, 


Fig.  63.  — Ferrara,  Castello  Vecchio. 


covered  with  ribbed  cross-vaults  that  have 
been  remodelled.  The  piers  are  slenderer 
than  at  Ca.samari,  and   the  pointed  arciics 


in 


FEKIJARA 

was  bxiilt  in  13f>")  as  an  addition  to  an  terminating  in  aroaded  iiinnacles,  divide 
oldoi-  palace  whicli  lias  disappeared.  It  it  into  tiiree  nearly  equal  parts,  each  fin- 
was   the  stroiighdiil  ol'  the  lords  of  Fer-     isliing  at  the   same  height  in  a  low  gable 


Fig    64 — Fenara,  Cathedral. 


rara  until  their  downfall.  It  is  a  scpiare 
mass  of  building  with  a  battering  base, 
rising  out  of  a  surrounding  moat,  and 
approached  by  a  drawliridge.  The  walls 
are  crowned  with  l:)old  machicolated  cor- 
nices, and  strong  square  angle  towers  rise 
high  above  the  castle  roofs.  The  interior 
contains  a  multitude  of  ajjartmcnts.  of 
which  the  most  important  were  decorated 
with  pictures  by  the  best  painters  of  Fer- 
rara,  which  have  now  disappeared.  (SW 
Fig.  6.3.) 

The  Cathedra  I,,  originally  a  late  Ro- 
manesque church  of  the  early  part  of  the 
xir  cent.,  with  nave,  aisles,  double  tran- 
sept and  choir,  but  undergoing  various 
modifications  and  additions  in  the  xiii 
and  XIV  cents.,  and  in  the  xvii  acomplete 
internal  rebuilding  in  the  Renaissance 
style.  The  fa(;ade  is  striking,  but  is  only 
a  monumental  screen,  with  no  relation  to 
the  intcriiir.   Two  square  projecting  piers. 


with  a  pointed  stepped  arcade.  The 
lower  story  of  Lombard  work  is  plain  and 
bare  but  for  three  round-arched  doorw;iys. 
Tlie  central  division  is  occupied  bv  an 
imposing  porch  in  two  stages,  the  arch 
below  springing  from  columns  resting  on 
the  backs  oi  figures  sitting  on  lions,  the 
doorway  deeply  recessed  with  a  sculptured 
tympanum.  Above  is  an  open  loggia 
with  three  pointed  and  traceried  arches, 
carried  on  twisted  columns  with  balus- 
ti-ade  between.  Within  this  loggia  is  a 
statue  of  the  N'irgin  and  Child.  A  i-ich 
sculptured  fi-ieze  is  carried  round  the 
porch  above  the  arches  under  a  sculptured 
galile.  An  arcade  of  small  round  arches 
crosses  the  front  in  line  with  the  loggia, 
]irobably  belonging  to  the  origiu.il  fa(^ade. 
They  are  grouped  in  threes  by  pointed 
enclosing  arches,  a  later  addition.  Above 
is  a  second  arcade  of  small  jiointed  arches 
without    enclosiiiir    arches.      In    the    xiv 


FIESOLE 


ppnt..  a  magnifieent  upiicr  story  was  mld- 
0(1.  with  ail  arcade  of  four  broad  pointed 
arclics  ill  each  division,  deeply  recessed, 
with  twin  windows  in  eacli  arch,  and  a 
])rofiision  of  columns  in  tlie  jambs.  Be- 
tween the  arcade  and  the  gable  in  eacli 
division  is  a  cusjied  rose  window.  This  is 
one  of  the  richest  chnrch  fronts  in  Italy, 
and  there  is  in  it,  jierhaps,  more  of  the 
character  of  the  northern  Gothic  than 
can  be  found  in  any  other  Italian  exterior  ; 
the  deeply  splayed  jambs,  the  profusion  of     of  these,  on  the  north,  preserves  portions 


'I'bc  interior  is  sjiaringly  liglited  by  one 
roinid  wiiubiw  in  each  end  of  each  vault, 
and  a  few  small  slits  in  the  walls  of  choir 
and  transept  ends.  The  exterior  is  of 
little  interest,  the  walls  being  of  rough 
stone  witliout  much  (k-sign.  'I'lie  facade 
still  retains  part  of  the  old  work  in  Ijlack 
and  white  marbles. 

KoMAX  Baths,  divided  into  three  main 
halls,  which  lie  side  by  side  and  are  con- 
nected bv  doorways.    The  first  and  largest 


shafts,  the  extent  to  which  in  the  upjier 
liortiou  the  continuous  openings  have 
abolished  the  wall  surface,  conduce  pow- 
erfully to  this  effect.  At  the  same  time 
with  tiie  addition  of  the  upper  stage  of 
the  front,  the  clerestory  walls  were  in- 
creased in  height  l)y  the  addition  of  a  con- 
tinuous arcade  of  small  arches,  carried  on 
square  pilasters  and  with  ogee  archivolts. 
The  church  was  begun  about  1093  by 
Nicolo  di  \'ico  Ariolo  (Ficarolo).  The 
square  brick  Renaissance  campanile  in 
four  stages  was  begun  145.5  and  tinished 
1401.  The  church  is  very  large — nearly 
370  ft.  long — and  has  two  transepts.  Tiu' 
interior  was  remodelled  in  Klo;  in  baroco 
style,  and  its  interest  destroyed.  (Srf 
Fif/.  'U.) 
FIESOLE  (anc.  Faesul»),  Italy. 

La  Badia.  The  original  monastery 
was  founded  about  1028,  but  was  rebuilt, 
including  the  church,  from  the  designs  of 
Brunelleschi,  about  14:50.  The  small 
church  has  a  very  plain  nave  covered  by 
a  simple  barrel-vault,  enclosed  by  four 
round  arches  on  each  side  springing  from 
s(|uare  piers  without  bases  or  capitals. 
The  aisles  are  divided  into  square  chapels, 
each  lighted  by  a  small  rectangular  win- 
dow. The  transept  matches  the  nave, 
and  the  crossing,  bounded    by   four  high 


of  a  marble  jiavement  and  wall-encrusta- 
tion ;  it,  with  the  small  rooms  oijening 
into  its  extremities,  is  recognized  as  the 
frigidarium.  The  middle  hall  and  that 
to  the  south  both  have  furnaces  connected 
with  them  ;  the  floor  of  the  bitter  was 
raised  over  a  hypocaustum  on  low  ]iiers  of 
brick  for  the  passage  of  the  hot  air.  and 
is  paved  with  marble. 

S.  Do.MKN'ico,  a  XVI  cent.  Renaissance 
chui'ch.  of  whicii  tiie  architect  is  not 
known.  Its  ])lan  comprises  a  small  nave 
with  three  .square  chapels  opening  from  it 
on  each  side  l:>y  round  arches  faced  with 
pilasters.  Above  is  a  clerestory  lighted 
by  large  rectangular  windows  with  pedi- 
ment caps  in  the  lunettes  of  the  barrel- 
vault.  There  is  no  transejjt,  but  before 
the  large  oblong  choir  is  a  sort  of  vestibule 
or  loggia  of  three  vaulted  bays  with  round 
arches  over  a  Corinthian  order.  In  the 
middle  bay  stands  the  high  altar.  On  the 
front  is  a  portico  of  the  full  breadth  of 
the  church,  with  five  arches  resting  on 
slender  Tu.scan  columns,  and  a  groined 
ceiling.  The  portico  dates  from  1G.'>5. 
At  the  X.  W.  angle  of  the  choir  is  a  slen- 
der square  campanile  with  a  spire. 

Ancient  Theatre,  on  the  slope  of  the 
hill  behind  the  cathedral,  facing  north, 
and  in  remarkable  preservation.  There 
round  arches  springing  from  squai-e  Cor-  are  six  entrances  in  the  exterior  wall,  and 
inthian  pilasters,  is  covered  by  a  flat  the  cavea  exhibits  twenty  tiers  of  seats  di- 
dome.  The  rectangular  choir  is  as  broad  vided  into  six  ciiuei  or  wedge-shaped 
as  the  nave,  and  nearly  as  long,  the  total  divisions  by  five  radial  flights  of  steps. 
lengtii  of  the  church  l)eiug  about  15u  ft.      Tiie  orchestra  is  clearly  defined,  as  is  the 


FLOKENCE 


stage,  before  wliidi  survives  tlie  trench 
intended  to  receive  tlie  falling  curtain. 
The  diameter  is  220  ft.,  that  of  the 
orchestra  is  U'J  ft.  By  some  this  theatre 
has  been  called  Etruscan  ;  but  this  theory 
is  untenable.  It  is  in  fact  one  of  the 
earliest  known  Konian  theatres. 
FLUKEXt'H  (Firenze),  Italy. 

The  Badia  was  originally  the  church  of 
a  monastery  founded  in  9T8,  but  was  re- 
built in  the  xiii  cent,  by  Arnolfo  da  Cam- 
bio,  and  again  in  102.5  from  the  designs 
of  Matteo  Segaloni.  The  church,  buried 
in  a  mass  of  surrounding  buildings,  is 
approached  by  a  long  narrow  corridor 
flanked  by  various  chapels.  Its  plan  is  a 
Greek  cross  about  SO  ft.  in  each  direction, 
from  the  eastern  arm  of  which  opens  a 
square  choir  terminating  in  a  semicircular 
apse,  while  from  the  transept  open  three 
rectangular  chaijels  in  the  angles  of  the 
cross,  the  fourth  angle  being  occupied  by 
the  tower.  The  interior  architecture  is 
rich  and  well  proportioned,  though  baro- 
00  in  style  ;  the  walls  are  faced  with  t\vi> 
orders  of  pilasters,  the  lower  Corinthian, 
the  upper  of  fanciful  design  ;  the  flat 
wooden  ceiling  is  deej^ly  panelled  and 
decorated  with  carving  and  color.  The 
campanile  is  the  only  portion  of  the 
church  which  recalls  its  early  architect- 
ure. It  is  a  slender  octagonal  tower, 
divided  by  string-courses  into  stages  with 
coupled  windows  in  each  face — those  of 
the  two  ujjper  stages  being  pointed, 
crowned  with  a  double  pointed  -  arched 
corbel-table,  under  an  octagonal  spire  with 
high  gables  at  its  base. 

Baptistery  of  S.  Giovaxxi  (St. 
John),  one  of  tlie  most  ancient  buildings 
in  Florence,  its  age  not  accurately  known, 
but  ascribed  by  different  authorities  to 
various  dates  from  the  v  cent,  to  the  xi., 
and,  at  least  in  its  present  form,  more 
safely  assigned  to  the  later  date.  It  is 
reputed  to  have  been  for  centuries  the 
cathedral  church,  and  made  a  baptistery 
only  upon  the  completion  of   the  newer 


cathedral  of  Sta.  Maria  del  Fiore.  It  is 
an  octagon  of  about  83  ft.  internal  diame- 
ter, its  interior  di.sijosition  resendjling  that 
of  the  Pantheon  at  Rome,  Each  side,  ex- 
cepting that  on  which  the  high  altar  is 
placed,  has  a  flat  niche  with  a  Corinthian 
order  of  red  and  gray  niarbk^  columns  in 
front,  carrying  a  low  entablature.  Above 
these  is  an  order  of  flat  Composite  pilas- 
ters, with  coupled  arches  in  the  intervals, 
opening  into  a  gallery,  and  an  entablat- 
ure, surmounted  by  a  panelled  attic,  from 
which  rises  the  high  octagonal  dome,  with 
an  elliptical  outline,  its  crown  103  ft. 
above  the  pavement.  The  eye  of  the 
dome,  originally  open  to  the  sky  as  in  the 
Pantheon,  was  covered  by  the  jDresent 
lantern  in  11  ")0.  The  entire  inner  surface 
is  covered  with  mosaics  of  various  dates 
and  styles,  the  earliest  as  old  as  1225. 
]Many  of  the  figures  have  suffered  from 
I'estorations.  The  square  western  recess 
in  which  the  high  altar  stands  was  added  in 
the  beginning  of  the  xiii  cent.;  it  ojions 
from  the  baptistery  l)y  a  great  arch  spring- 
ing from  the  entablature  of  the  first  order 
and  rising  to  that  of  the  second,  and  its 
barrel-vault  is  covered  with  a  fine  early 
mosaic.  The  pavement  is  a  mosaic  of 
black  and  white  marble  of  an  intricate 
and  beautiful  design.  Of  the  exterior  as 
first  built  we  have  no  means  of  knowing. 
It  was  more  or  less  reelothed  in  1288-93 
by  Arnolfo  da  Lapo,  the  first  architect  of 
tlie  Cathedral,  with  a  facing  of  black  and 
white  marbles.  There  are  three  stages, 
in  two  of  which  each  side  of  the  octagon 
is  divided  into  panels  by  pilasters  in  the 
first  story,  and  by  engaged  columns  in  the 
second,  the  latter  bearing  round  arches, 
with  a  projecting  cornice  above.  Under 
the  arch-heads  are  windows  of  classic  de- 
sign. The  third  story  is  an  attic  without 
openings.  A  low  octagonal  roof  covers 
the  building,  with  a  small  lantern  at  the 
apex,  and  there  is  no  suggestion  of  the 
great  dome  within.  The  whole  surface 
of  the  walls  is  banded  and  panelled  with 


127 


I LOKKXCE 


lack   iiiiil    white  marbles  in   simple    pat-     herti,  then  only  twenty  years  old,  and  tiic 


1 

terns.  'I'wo  noble  sliafts  of  red  porphyry, 
whicli  stand  on  either  sitle  of  the  eastern 
entrance,  were  presented  to  Florence  by 
tiie  Pisans  in  1111  in  rctnrn  fur  hclji  reii- 


Fig.  65, — Florence,  B?iptistery. 


(iel-e(i 

tiiree 
sonth 


til   thcii'  cil  V  in    I  inic  of   wai'. 
|)airs  of    lii'iiiizr   (tool's   closing 
north,     and     east     entrances 


Tlie 
the 
arc 

anionii'  the  most  spU'iiilid  woi'ks  of  Ital- 
ian art.  Those  of  the  sonth  entrance 
were  execntcd  by  Andi'ca  I'isano.  and  were 
begun  in  i;!;i(l.  'I'lic  design  has  been  at- 
tributed by  V'asai'i  I"  (iintln.  and  so  high 
was  the  estimate  of  their  beauty  at  that 
time  that  their  completion  was  celebratt'd 
as  a  festival  throughout  Tuscany.  Hut 
their  fame  was  to  he  eclipsed  by  the  doors 
of  the  other  two  entrances.  These  were 
only  taken  in  baud  in  lloi.  when  a  com- 
petition   was  set  on    fmit.  in    which   seven 

artists    ])ai'ticipated.    anmng     wl were 

Donatello.  lli-uncllcschi.  :inil  Lorenzo 
<ihil.>erti.      The    wurk    was   given    to   (Ihi- 


doors  were  finished  in  1424.  (See  Firj.  It-').) 
BAiiCELLO.  See  P(ih(z-:(i  i/cl  Pudcstt't. 
The  HiitAI.lo  is  a  small  loggia  oiiposite 
the  liaptistery,  attributed  to  Hrunellesehi, 
but  probably  built  before  his  day  as  a  por- 
tion of  a  hospital,  and  now  forming  the 
vestiliulc  and  oi'atory  of  La  Miserieordia. 
'I'he  I'liund  arches  ai'e  about  1.")  ft.  wide  and 
nearly  •.'!•  ft.  high,  of  extremely  elegant 
design,  with  scpiare  panelled  jiiers  rest- 
ing on  sculptured  pedestals,  broa.d  mould- 
ed ai-chi\olls  and  sculptured  sj)andrels. 
Abiivc  the  arches  runs  a  broad  frieze  with 
|iointcil.  cusped,  and  gabled  niches,  enclos- 
ing statues.  The  second  story  has  pointed 
two-light  windows  high  up  under  a  broad 
pnijcciiiig  caves-corniee,  vigorously  brack- 
eted, 'i'hc  whdle  is  a  remarkable  union 
of  elegance  and  picturesqueness. 

Till'  (' \Mi'.\  Ni  i.i':  of  the  cathedral,  com- 
iiioid\  called  (Jiotlo's  Tower,  is  the  most 
admired  cxamiile  of  {•'lorcntinc  decorative 
architecture.  It  is  the  product  of  (liot- 
tiTs  ])ei'fe<'ted  genius,  having  been  begun 
in  ll!:!!.  not  (|iiilc  three  years  before  his 
death,  at  which  period  it  had  reached  pci'- 
haps  one-third  of  its  height.  It  stands  de- 
tached IVoin  the  S.  W.  angle  of  the  cathe- 
ili'al.  Il  is  rorty-li\c  feet  square  at  the 
base,  with  scarcely  any  diminution  up- 
wards, anil  its  height  of  -Z'i')  ft.  is  divided 
into  fiinr  stages,  of  which  the  first  may 
he  regarded  as  a  base,  witlmut  ii|icniiigs 
except  the  doiirway.  and  s\didiviileil  at 
mid-lu'ight  inlii  a  Inwci-  and  nji]icr  base, 
'i'hc  scciiiid  and  tliii'd  stories  have  in  each 
face  two-light  windows  of  exquisite  beauty, 
with  ])ointed  and  cusped  openings  over 
traceried  balcoines.  divided  and  enclosed 
by  delicate  twisted  shafts,  surrounded  by 
sculptured  nmulilings  and  marble  inlay, 
and  ciivci-cd  liy  a  crocketed  gable.  The 
fourth  iir  1  id  fry  stage  has  in  each  face  a 
single  high  llireedight  window  of  similar 
chai'aclcr  In  those  behiw.  The  angles  of 
the  tower  are  marked  hy  nctagonal  liut- 
trcsses,  continued    willmut   change  nf  out- 


las 


FLORENCE 


line  or  cliaractiT  from  tlii'  grouiul  tn  tlic 
summit.  The  various  stages  are  separated 
by  moulded  and  decorated  strings  with 
sculptured  friezes,  the  bold  cornice  is  cor- 
IjelU'd  on  cusped  pointed  arches  carried 
round  the  angle  buttresses,  with  a  narrow 
inlaid  frieze  above  and  a  crowning  balus- 
trade. The  wall-surfaces  of  white  mar- 
hie  are  crossed  by  horizontal  bands  of  deli- 
cate inlay  and  sculpture,  and  are  every- 
where divided  into  vertical  panels  by  lines 
of  dark  green  serpentine,  the  panels  and 
borders  often  adorned  by  inlaid 
geometrical  jjatterns,  and  those 
of  the  sub-base  by  a  series  of  bas- 
reliefs  attributed  to  Giotto,  illus- 
trating the  successive  periods  of 
human  life  and  civilization.  In 
the  upper  base  the  lower  panels 
are  occupied  by  a  series  of  deej) 
vaulted  niches  contaiiung  stat- 
ues. The  original  design  for  the 
tower  included  a  crowning  spire 
rising  90  ft.  above  the  present 
cornice.     (See  Fif/.  66.) 

Capella  Pazzi.  This  chapel, 
one  of  the  earliest  works  of  the 
Keuaissance,  was  hailed  as  a  tri- 
umph of  Brunelleschi,  who  built 
it  in  1420.  It  opens  from  the 
larger  cloister  of  the  church  of 
Sta.  Croce,  and  is  a  simple  rec- 
tangle, with  one  of  its  longer 
sides  facing  the  cloister  and  cov- 
ered by  an  arcaded  porcli,  while 
a  small,  square  choir  opens  from 
the  opposite  side.  The  central 
portion  of  the  rectangle  is  cov- 
ered by  a  low  ribbed  dome,  light- 
ed by  lunettes,  the  ends  by  barrel - 
vaults,  springing  from  the  entab- 
lature of  an  order  of  Corinthian 
pilasters,  which  decorates  the 
walls.  The  porch  is  an  elegant  composition 
in  two  stages,  the  first  an  open  colonnade  of 
six  Corinthian  columns,  the  middle  opening 
nnieh  broader  than  the  rest,  and  covered 
by  an  arch  rising  through  the  second  story. 


which  is  elsewhere  a  flat,  panelled  wall 
divided  by  delicate  coupled  pilasters  car- 
rying a  high  entablature  with  decorated 
frieze.  Above  this  is  a  light  wooden 
loggia.  The  interior  is  beautifully  deco- 
rated ^vith  i-eliefs  by  Luca  dclla  liobbia. 
The  porch  has  a  handsome  harrcl-vault, 
richly  panelled,  and  a  low  dome  on  pen- 
dentives  in  the  centre.  The  wall  within 
the  porch  has  engaged  joilasters  answer- 
ing to  the  columns  in  front,  a  pedimented 
doorway  in  the  middle,  and  round  arched 


Fig.  uo. — f-icrence,   Catnecirai    and    Campanile. 

windows.  The  frieze  of  the  order  is  deco- 
rated like  that  of  the  exterior.  {See  Fig. 
67.) 

Cathedral  or  Duomo  (Sta.  Maria  del 
Fiore).     The  cathedral  of  Florence,  dedi- 


FLORENCE 


cated  to  St.  Mavy  of  the  Flower,  is  the  lateral  apses.  300  ft.  The  nave  exhilnts, 
most  important  and  splendid  work  of  in  an  exaggerated  degree,  the  characteris- 
Gothic  architecture  iu  Italy,  as  it  is.  witli     tic  disposition  of  parts  in  the  Gothic  of 

Italy.  Its  length,  ahout 
mo  ft.,  is  divided  into 
only  four  square  liays  by 
square  piers  with  octag- 
onal angle-shafts,  which 
are  joined  by  four  enor- 
mous pointed  arches  of 
50  ft.  sjian,  and  from 
which  spring  also  trans- 
verse arches  across  nave 
and  aisles.  The  pilas- 
ters that  face  the  piers 
are  continued  l)etween 
the  arches  like  vaulting- 
shafts,  and  the  clumsy, 
foliated  capitals  are  re- 
peated on  a  level  with 
the  crown  of  the  arches, 
a!)Ove  which  is  a  con- 
tinuous horizontal  cor- 
nice, and  a  low  project- 
ing gallery,  which  runs 
round  the  church,  and 
from  behind  which 
s^irings  the  four -part 
vault  of  tlu'  nave,  ris- 
ing to  the  heiglit  of  14.i 
ft.  above  the  pavement. 
The  clerestory  is  insig- 
nificant, being  wholly 
comprised  within  t  h  e 
tvnqianum  of  the  vault, 
and  pierced  by  a  single 
round  opening  high  up 
in  each  bay,  while  in 
the  exception  of  St.  Peter's,  the  largest  each  bay  of  the  aisle  is  a  single  high  and 
church.  Its  plan  is  one  of  extreme  narrow  two-light  window.  The  choir  is  a 
simplicity  ;  a  vast  unbroken  octagon,  135  low,  octagonal  enclosure  iu  the  middle  of 
ft.  iu  diameter,  from  three  of  the  car-  the  central  octagon.  The  three  ajises  to  the 
dinal  sides  of  which  open  great  apses  in-  lun'th,  east,  and  south  are  alike,  covered 
eluded  within  five  sides  of  an  octagon,  each  by  an  octagonal  half  dome,  and  from 
while  from  the  fourth  projects  the  great  each  of  their  sides  opens,  by  a  high  pointed 
nave,  5G  ft.  wide,  flanked  by  aisles  nearly  arch,  a  vaulted  chapel  about  20  ft.  square, 
30  ft.  wide.  The  whole  interior  length  is  enclosed  by  the  outer  wall,  over  which  each 
about  485  ft.:  the  breadth,  including  the     side  of  the  apse  is  pierceil  l)y  a  two-light 

ISO 


-Florence,  Cloister  of  S:a   Croce  and  Cape'la  Pa::i 


FLORENCE 


window  similar  to  those  of  the  aisles. 
Above  the  great  arches  of  tiie  ajises  the 
wall  of  the  central  octagon  is  carried  up 
nearly  40  ft.,  forming  a  drum  for  the 
great  dome  135  ft.  in  diameter,  the  full 
breiidth  of  the  church,  preserving  the  oc- 
tagonal outline  of  its  base,  and  rising 
with  its  lantern  to  the  height  of  nearly 
390  ft.  above  tlie  pavement.  The  lantern 
which  crowns  the  dome  is  scarcely  visible 
from  within  through  the  narrow  circle  at 
its  base,  and  the  frescoes  from  Vasari's  de- 
signs, with  which  the  surface  of  the  dome 
was  covered  in  1.572,  are  insufficiently 
lighted.  The  windows  throughout  the 
church  are  mostly  tilled  with  stained  or 
painted  glass,  made  in  Germany  during 
the  first  half  of  the  xv  cent,  from  the  de- 
signs of  Ghiberti  and  Donatello.  This 
great  interior  is  perhaps  the  most  emphatic 
examjile  in  existence  of  the  completeness 
with  which  a  great  architectural  concejJ- 
tion  can  be  brought  to  naught  in  execu- 
tion. There  is  probably  no  church  in  Eu- 
rope of  comparable  dimensions  of  which  the 
effect  is  so  poor  and  bald.  The  immense 
size  and  height  of  the  nave  (the  latter  equal 
to  that  of  Amiens)  are  neutralized  by  the 
scale  upon  which  its  several  parts  are  de- 
signed ;  the  distance  at  which  its  piers 
are  set  depriving  it  of  that  continuity 
which  is  so  important  an  element  in  the 
grandeur  both  of  the  northern  (iothic 
churches  and  of  the  basilicas.  The  effect 
which  belongs  of  right  to  the  three  great 
arises  which  surround  the  dome  is  sacrificed 
by  their  isolation  from  each  othei',  and  the 
disposition  of  their  chapels  ;  and  the  ma- 
jestic proportions  of  the  great  central  oc- 
tagon and  its  dome  are  rendered  inef- 
fective by  the  poverty  of  their  treatment. 
Throughout  the  whole  interior  great  sur- 
faces of  bare,  flat  wall,  dull  in  color  and 
unrelieved  by  important  architectural  feat- 
ures, meet  the  eye,  and  the  whole  effect  is 
one  of  nakedness  and  gloom. 

The  exterior,   although  it  is  the  w(n-k 
of  various  ai'chitects  working  through  suc- 


cessive administrations  for  a  hundred  and 
fifty  years,  and  although  the  interest  of 
the  various  parts  is  by  no  means  e(iual, 
yet  preserves  a  substantial  consistency 
throughout.  The  walls,  vencei'ed  with  a 
thin  facing  of  white  marble,  are  every- 
where covered  by  a  monotonous  rectangu- 
lar panelling  formed  by  strips  of  dark- 
green  serpentine.  On  the  flanks  of  the 
church  the  interior  division  is  indicated 
both  on  the  aisle  and  clerestory  walls  by 
square  buttresses,  between  which  in  each 
bay  of  the  aisle  wall  is  a  slender  two-light 
window,  lavishly  decorated  with  exquisite 
detail,  of  twisted  shafts,  jambs  of  marble 
inlay,  high  crocketed  gables  flanked  by 
pinnacles  and  lifted  far  above  the  arch, 
the  interval  being  filled  with  a  marble  in- 
lay of  geometrical  patterns.  The  side 
doorways  are  decorated  with  even  greater 
l^rofusion  of  ornament.  The  aisle  wall  is 
terminated  by  a  fine  and  decorative  arched 
corbel-table  and  a  pierced  balustrade, 
above  which  the  clerestory  wall,  whose 
flatness  is  scarcely  relieved  by  the  double 
series  of  oblong  panels,  is  pierced  by  a 
single,  plain  round  window  in  each  bay. 
In  the  eastern  half  of  the  cathedral,  the 
wall-surfaces  are  divided  by  two  ranges  of 
blind  arches  rising  to  the  height  of  the 
aisle  wall,  within  which  the  windows  of 
the  apses  and  of  their  chai^els  are  of  simi- 
lar design  to  those  of  the  aisles.  Around 
a  part  of  the  octagon  the  angle  buttresses 
are  finished  with  capitals  of  more  or  less 
classic  character,  carrying  an  entablature, 
above  which  is  an  open  arcaded  gallery 
with  an  order  of  columns  surmounted  by 
a  balustrade.  The  crowning  lantern  is  a 
high  octagon  with  pilasters  at  the  angles, 
round  arches  between,  and  wide-projecting 
angle -buttresses  pierced  by  arches  and 
covered  by  scrolls.  This  portion  of  the 
church,  with  the  three  apses  covered  by 
octagonal  domes,  their  angles  reinforced 
by  buttresses  of  great  jjrojection,  and  the 
vast  central  dome  rising  above  all,  has 
great  variety  and  interest.     The  dome  has 


FLORENCE 


not  !ill  the  effect  wliicli  belongs  to  its  size 
and  height  and  superb  outline  ;  the  drum 
is  but  a  repetition  of  tiie  flat  clerestory 
wall  lifted  up  a  story  with  its  feeble  panel- 
ling and  its  unsightly  round  windows,  and 
the  junction  of  the  drum  with  the  dome 
itself  is  not  sutliciently  marked.  ]5ut  in 
judging  this  work  the  extreme  ditliculty 


Fig.  68. — Florence,  Cathedral,  East  End. 

of  lirunellescjii's  task  must  he  remem- 
bered. The  fact  that  it  was  absolutely 
without  precedent  makes  his  achievement 
extraordinary :  and  the  wonder  is,  the 
mechanical  dilliculties  being  brilliantly 
overcouie,  not  tiiat  the  artistic  result  is 
faulty  in  detail,  but  that  in  spite  of  its 
faults  the  effect  is  so  admirable  and  im- 
pressive as  it  is.  The  gr()U])ing  of  the  donu' 
and  apses  from  N.  E.  or  S.  K.  is  of  ainiost 
unexampled  majesty. 


Tiie  materials  for  the  early  history  of 
the  cathedral  are  scanty  and  conflicting. 
The  rel)uildiug  of  the  old  catiuMlral  of 
Sta.  Keparata,  which,  dating  from  a  pe- 
riod anterior  to  the  vm  cent.,  had  been 
the  cathedral  church  since  the  early  part 
of  the  XII,  was  resolved  ujjon  in  l'^l)-t;  and 
the  work  was  begun  in  that  year  uiuler 
the  direction  of  Arnolfo  da 
Lapo,  who  was  architect  of  the 
Commune  and  was  already  en- 
gaged at  Santa  Croce  ;  and  who 
carried  on  the  works  until  his 
death  in  1310.  An  interval  of 
twenty  years  then  occurred  dur- 
ing which  the  work  appears  to 
have  languished.  In  1334 
Giotto  was  appointed  to  the 
charge  of  the  cathedral,  the 
town  walls,  and  other  works  of 
the  Commune.  Umler  him  the 
building  of  the  cathedral  was 
resumed  with  vigor,  and  the 
foundations  of  the  campanile 
were  liegun  within  three  months 
after  his  appointment.  Giotto 
(lied  in  January,  1337,  and  an- 
(itlu-r  interval  of  inaction  seems 
t(i  have  intervened,  liy  the 
middle  of  the  century  it  had 
(■(line  to  be  felt  that  the  new 
cathedral,  as  })laniicil  by  Arnol- 
fo. was  too  small  to  comjioi't 
with  the  growing  dignity  and 
wealth  of  the  republic.  A 
larger  plan  was  determined  on, 
which  lengthened  the  nave  and 
heightened  the  aisles,  without,  however, 
disturbing  essentially  the  walls  ali'cady 
built.  Up  to  this  tinu'  the  old  cathedral  of 
Sta.  Keparata  was  still  standing  within  the 
walls  of  the  new  building.  It  was  taken 
down  in  KJT.j.  The  work  of  enlargement 
was  begun  in  1357,  under  Francesco  Ta- 
lenti,  under  wliom  and  his  son  Simone 
the  building  a})pears  to  have  been  contin- 
ued with  reasonable  steadiness.  In  1407. 
when   the   body  of  the   church  was  jiracti- 


ia2 


FLOKEXCE 


cally  comjik'te,  the  question  of  covering  Brunellesehi's  was  the  governing  mind, 
tlie  central  octagon  remained.  The  orig-  His  jdan  comprised  two  domes,  an  inner 
inal  design  of  ArnoU'o  appears  to  have  and  an  outer  sliell,  sepai'ated  by  a  s{)aco 
included  a  dome  for  the  central  feature,  wide  euougli  for  jjussages  and  stairways, 
l)ut  to  have  left  its  details  undeter-  but  joined  at  eacii  angle  of  the  octagon 
mined.  The  difliculties  to  be  met  were  by  a  witlie  or  rib  of  masonry,  and  by 
enormous.  Tlie  sjiace  to  be  covered  was  smaller  intermediate  ribs.  The  lower  por- 
greater  than  any  yet  covered  by  a  dome,  tion,  perhaps  a  third  iir  height,  was  to  be 
e.xcept  in  the  Pantheon  at  Rome,  where  of  stouewoi'k,  all  above  of  brick.  The 
the  dome  sat  on  a  continuous  circular  work  was  to  be  accomplished  without 
wall  built  from  the  ground,  and  of  no  ex-  centering,  and  was  to  be  bound  together 
cessive  height.  After  years  of  discussion  by  two  chains  of  iron  and  timlter.  The 
and  consultation,  a  competition  was  in-  contemporary  accounts  of  Brunelleschi's 
vited  in  l-ilS,  in  res^Jonse  to  which  fifteen  energy  and  inventive  genius  are  most  in- 
models  were  presented.  Among  these,  teresting.  He  had  need  of  it  all,  for  his 
the  only  two  which  were  seriously  consid-  work  was  beset  with  difKeulties  and  dis- 
ered  were  those  of  Filippo  Brunelleschi  couragements,  not  the  least  among  which 
and  Lorenzo  Ghiberti.  In  l-tiiO  they  were  those  arising  out  of  his  association 
were  apjjointed  as  joint  masters  of  the  with  Ghiberti,  who  appears  to  have  proved 
work,  and  with  tiicm  was  associated  Bat-  both  jealous  and  incompetent,  but  who 
tista  Antonio.  Work  was  begun  in  Aug-  held  his  place  until  1-432,  wlien  the  work 
ust   of   the   same   year.      From   the    first     was    approaching    completion.       On    the 

twelfth  of  June,  1434,  it  was  so  far  fin- 
ished that  the  cathedral  was  consecrated 
with  ceremonies  of  great  splendor  by  the 
pope,  Eugenius  V.  In  143G  a  new  com- 
jietition  was  instituted  to  determine  ixpon 
a  design  for  the  lantern.  This  work  also 
was  given  to  Brunelleschi,  but  its  execu- 
tion was  delayed  for  nine  years,  having 
been  begun  in  1445.  Brunelleschi  died 
in  the  following  year,  and  the  lantern 
was  completed  from  his  design  in  1407. 
The  facade  of  the  cathedral  waited  long 
for  completion.  In  the  earlier  stages  of 
the  work  it  appears  to  have  been  carried 
on  along  with  the  side  walls,  with  whicii, 
in  point  of  design,  it  doubtless  corre- 
sponded. Of  this  facade,  which  is  said 
to  have  been  adorned  with  statues  by 
Donatello  and  other  masters,  the  design 
was  long  believed  to  have  been  by  (iiotto. 
More  recent  researches  make  this  impi-ob- 
able,  and  seem  to  show  that  the  fac/ade 
was  not  begun  at  the  period  of  his  dcatJi 
in  1337.  A  few  j'ears  after  the  cathedral 
The  black  plan  shows  the  church  as  it  is  thonght  to  have  otherwise    Complete,    a   Competition 

been  desisrned  bv  Amolfo ;  the  outline  plan  the  enlarsemeut  ^  .  ^ 

of  the  eastern  part  to  its  present  size  by  Talenti.  WaS   Set   On   foot     looking   toward    tlie     hll- 


Fig,  69.— Florence,  Cathedral,  Plan. 


1S3 


FLORENCE 


isliiug  of  the  facade,  but  the  death  of  Lo- 
renzo the  -Magiiiiiceiit  put  a  stop  to  tlie 
project,  which  was  revived  in  1515,  wlieu 
Sansovino  made  a  design  accompanied  by 
a  wooden  model.  This  also  came  to  noth- 
ing, antl  the  unfinislied  front  stood  until 
1588,  when  it  was  taken  down  by  the 
Proveditore,  Benedetto  Ugnccioue,  with 
the  intention  of  replacing  it  by  a  front  in 
the  style  of  the  Renaissance.  This  mis- 
fortune was  happily  averted,  and  the 
rough  brick  wall  remained  nearly  three 
hundred  years  longer,  irntil,  in  1865,  in 
resjionse  to  an  invitation  for  a  competi- 
tion one  hundred  designs  were  sent  in, 
of  whicli  that  of  the  Chevalier  de  Fabris 
was  accepted.  The  work  was  not  begun 
until  1875,  and  the  new  front  was  conse- 
crated in  188T.  It  is  in  three  compart- 
ments, the  central  one  the  highest,  and 
crowned  with  a  gable  decorated  with 
mosaics.  It  is  divided  and  flanked  by 
square  jjrojecting  buttresses,  and  crowned 
by  bold  arcaded  cornices.  In  each  divi- 
sion is  a  pointed-arched,  and  gabled  door- 
way, and  a  wheel-window  enclosed  in  a 
square  frame — the  only  windows  in  the 
fa(,'a(le.  Tlie  whole  front  is  extremely 
rich  in  decoration ;  the  buttresses  have 
each  a  vertical  range  of  coupled,  recessed 
panels,  and  a  line  of  canopied  niches  en- 
closing statues  crosses  the  front  at  the 
level  of  the  aisle  roofs.  {See  Fiqs.  66,  6S, 
60.) 

Giotto's  Tower.     See  Campnnih. 

The  Laukentian  Library,  attached 
to  the  church  of  S.  Lorenzo,  is  ap- 
proached from  the  cloister  of  that  church 
through  a  lofty  vestibule  about  33  ft. 
square,  of  which  the  lower  portion  has  an 
order  of  coupled  engaged  columns  with 
niches  between  ;  the  wall  above  being  un- 
finished. \.  staircase  of  eccentric  design 
in  the  middle  of  this  vestibule  leads  to 
tiie  library,  a  noble  hall  about  3'J  ft.  wide. 
145  ft.  long,  and  ;.'8  ft.  high.  The  walls 
have  an  order  of  Doric  pilasters,  with 
panels    between    enclosing    large    square 


windows  glazed  with  painted  glass.  The 
flat  ceiling  is  panelled  and  decorated  with 
rich  and  beautiful  wood  -  carvings  ;  the 
pavement  is  of  red  and  white  tiles  with 
elaborate  arabesque  patterns.  A  range  of 
benches  and  reading-desks,  disposed  on 
either  side  of  a  central  aisle,  is  also  carved 
with  great  richness.  The  work  was  be- 
gun by  Michael  Angelo  in  1521  for  Clem- 
ent VII.,  and  continued  after  his  depart- 
ure for  Rome  by  Vasari  and  Ammanati. 
The  collections,  begun  by  Cosimo  de'  Me- 
dici in  the  middle  of  the  xv  cent.,  had 
for  a  hundred  years  a  singular  history, 
passing  successively  into  the  possession  of 
tlie  Dominican  monks  of  San  Marco,  of 
Clement  VII.,  of  Leo  X.,  and  being  re- 
moved to  the  Palazzo  Vecchio,  to  Rome, 
and  liaek  to  Florence,  flnding  here  at  last 
a  permanent  home. 

Loggia  dei  Lanzi,  a  triple -arched 
portico,  occupying  the  greater  portion  of 
one  side  of  the  Piazza  della  Signoria,  of 
great  simplicity  of  design,  and  forming, 
from  its  great  scale,  the  nobility  of  its 
lines,  and  the  justness  and  beauty  of  its 
ornamentation,  one  of  the  most  striking 
and  admirable  of  architectural  monu- 
ments. It  is  about  120  ft.  by  50  ft.  Its 
front  consists  of  three  majestic  round 
ai'ches,  each  some  32  ft.  in  span  and  50 
ft.  high,  springing  from  clustered  piers 
of  about  (J  ft.  diameter  with  high  deco- 
rated bases  surrounded  liy  engaged  pedes- 
tals bearing  lions,  and  with  high  foliated 
caps.  In  the  spandrels  are  sunken  tre- 
foils enclosing  figures  in  high  relief  of 
six  virtues,  originally  illuminated  with 
color  on  a  background  of  gold  mosaic. 
Above  the  arches  is  a  deep  frieze  l)earing 
shields  and  a  beautiful  arcaded  cornice  of 
bold  projection,  crowned  by  a  jjierced 
parapet  of  quatrefoils  in  square  panels. 
The  whole  height  is  about  80  ft.  Toward 
the  Uttizii  the  Loggia  opens  with  a  single 
arch  like  those  of  the  front.  The  interior 
is  covered  by  three  groined  vaults.  It 
contains  many  works  of  sculpture.  n(jtal)ly 


184 


FLORENCE 


tlip  Povscus  of  Bc'iiveiiuto  Cclliiii,  and  tlie 
.Iiulith  of  Donutollo.  Tho  Loggia  was 
commenced  in  1374.  Its  design  lias  been 
ascribed  to  Andrea  Orcagna,  and  it  was 
intended  to  form  part  of  a  comprehensive 
design  for  the  improvement  of  the  Piazza. 
{See  Fifj.  70.) 

The  Mercato  Xuovo,  or  new  market, 
is  a  rectangular  ojien  loggia,  standing 
detached  in  a  pul)lic  square,  about  95 
ft.  long  and  00  ft.  broad,  with  four  round 


Tasso.  and  remains  to  tliis  day  the  cen- 
tre of  the  trade  in  various  kinds  of  straw 
goods.  Tlie  architecture  is  simple  and 
very  elegant. 

La  Misericordia.     See  Bifjallo. 

Ok  San  Michele  ( from  Horreum 
Sancti  Michaelis,  it  is  thought),  an  inter- 
esting example  of  Florentine  Gothic, 
built  by  order  of  the  Signory  in  1284, 
as  a  grain  market,  from  the  designs 
of  Arnolfo  da  Lapo,  and  after  suffering 


Fig.  70. — Florence,  Loggia  dei  Lanzi. 


arches  on  each  long  side  and  three  on 
each  end,  and  divided  into  twelve  domed 
bays  by  cross  arches  which  sjiring  from 
Corinthian  columns.  The  angles  of  the 
building  are  strengthened  by  massive 
square  piers  carried  to  the  cornice,  and 
bearing  on  each  outer  face  a  semicircular 
niche  surmounted  by  a  pedimented  cap, 
while  the  columns  at  the  ends  are  need- 
lessly supi^orted  by  lighter  jjiers.  The 
elevations  are  crowned  by  a  continuous 
entablature  with  a  very  broad  unadorned 
frieze.  The  market  was  built  in  1.547  for 
Cosimo  I.,  from  the  designs  of  Bernardo 


from  two  conflagrations,  rebuilt  in  its 
present  form  between  the  years  1330 
and  13TS.  It  is  a  rectangular  building, 
106  ft.  long  and  65  ft.  wide,  in  three 
stories,  of  whicli  the  lowest  was  originally 
an  open  loggia  of  great  round  arches, 
springing  from  jjlain  square  stone  jiiers, 
divided  into  six  square  bays,  covered  each 
with  four-part  vaulting.  In  1337  the 
lower  story  was  enclosed,  and  the  interior 
transformed  into  a  church;  the  arches 
were  filled  with  three-light  windows  with 
traceried  heads,  divided  by  shafts,  and 
glazed  with  good  painted  glass.     The  sec- 


135 


FLOKEXCE 


(111(1  aiul  tliird  stories  :ire  alike,  except  in 
liei,i,flit,  each  having  two-liglit  pointed 
anil  ciis|rm1  windows  with  slender  shafts 
and  janili  -  mouldings  continued  round  a 
pointed  bearing-arch,  with  a  simjile  label. 
The  front  is  linislied  by  a  finelj'  developed 
arclied  corbel-taliie.  the  arches  large  iiiul 
cusped,  the  corbels  thin  and  lioldly  pro- 
jecting, above  which  is  a  halustrade  with 
s((uarc  panels  carved  with  tracery.  The 
most  remarkaljle  feature  of  the  building 
is  the  decoration  of  tlio  piers  of  the  first 
story,  wjiich  bear  on  their  faces  niches  en- 
closing statues,  given  by  the  twelve  gnihls 
of  Florence  and  including  works  by  i)oii- 
atello,  Ghiberti,  .lolm  of  Bologna,  and 
other  masters  that  are  among  the  noblest 
examples  of  Italian  sculpture.  The  niches, 
a  striking  illustration  of  the  exquisite  or- 
nament of  which  this  age  was  capable. 
are  of  various  design,  thougli  of  the  same 
character,  having  pointed  and  cusjied 
arches  carried  on  slender  shafts,  witli 
straight  or  ogee  pinnacled  gables,  and 
decorated  in  cvci-y  part  with  delicate 
sculpture  and  marble  inlay.  The  interior 
of  the  church  contains  a  remarkable  tab- 
ernacle of  white  marble,  by  Orcagna,  built 
from  the  otferings  made  during  the  great 
plague  of  the  XIV  cent. ,  which  is  a  won- 
der of  iiiinutc  and  exipiisite  decoration  in 
sculiiture  and  mosaic.  The  upper  stories 
of  the  building  retained  their  original  use 
as  a  warehouse  for  the  storage  of  grain 
as  late  as  l.jfii),  when  Cosmo  I.  made  them 
a  depository  for  the  national  archives, 
whicli  they  still  remain. 

Osi'EDAi.E  DEiiLi  Innocenti,  the  Hos- 
pital of  the  Innocents,  or  foundling  hos- 
pital, was  founded  in  1421,  and  the 
building  was  liegun  from  the  designs  of 
Urunelleschi  :  hut  he  lieing  called  away 
from  Florence  by  his  engagements  in  con- 
nection with  the  wars  of  the  time,  the 
work  was  carried  out  by  his  inipil,  Fran- 
cesco della  Tama.  The  building  has  a 
long  fayade  cm  the  Piazza  dell'  Amiim- 
ziata.   in   two  stories,  of    which    the   lirst 


is  an  open  vaulted  arcade  of  broad  round 
arches  on  Corinthian  columns,  the  s})an- 
drels  bearing  roundels  containing  each  the 
figure  in  majolica  of  an  infant  in  swad- 
dling-clothes, by  Luca  dclla.  liobbia.  A 
continuous  licit  over  the  arcade  forms  the 
base  of  the  low  second  story,  which  has 
over  each  arch  a  square  window-  with 
moulded  architraves  and  pedimented  cap. 
The  interior  court  is  of  similar  architect- 
ure, surrounded  by  a  vaulted  arcade, 
over  which  is  a  second  story  with  ]>lain 
square  windows,  the  wall-surfaces  of  white 
marble  being  laid  off  in  square  and  circu- 
lar jianels  by  strijies  of  dark  color  imitating 
various  devices  in  iuhi}'. 

1'al.\zzo  Bahtolixi,  a  small  Keuais- 
sance  palace  built  about  1520  by  Baccio 
d'Agnolo.  It  lias  a  small  fa(;ade  in  tliree 
stories,  with  a  square  doorway  in  tlie 
middle,  enclosed  in  a  small  portico  of  two 
Doric  columns  with  entablature  and  ])edi- 
ment.  On  each  side  the  doorway  is  a 
single  s([uarc  pedimented  window  with  a 
smaller  opening  below  it.  The  doorway 
is  approached  by  five  steps,  and  the  base 
of  the  building  is  brought  forward  to 
form  a  continuous  bench  across  the  front. 
The  windows  of  the  upper  stories,  each 
divided  into  two  lights  by  a  curious  couple 
of  superpo.sed  columns,  all  carry  jiedi- 
ments  alternately  round  and  triangular, 
borne  on  ])ilasters,  and  are  flanked  in  the 
second  story  by  round-arched  niches. 
The  lines  of  the  window  entablatures  are 
continued  across  tlie  front  to  the  angle 
piers  of  rustic  work  :  the  stories  are  sepa- 
rated by  entablatures  w-ith  decorated 
friezes,  and  the  rroiit  is  finisluMl  by  a  liold 
and  somew4iat  exaggerated  corniccione. 
This  palace  is  historically  noted  as  the 
first  Kenaissance  example  of  a  classic  or- 
der with  a  ]HMliment  enclosing  a  door  or 
window. 

Palazzo  Giuuni,  a  Penaissance  palace 
built  in  the  last  quarter  of  the  xv  cent, 
from  the  designs  of  Aiiimanali.  Its  plan 
is    nearly    sipiare,    with    a    fayade   mi    the 


FLORENCE 


street  aiKl  ancitlu'i'  t>\\  the  LranU'ii,  radi 
about  00  ft.  long  in  tliiTo  stories  with  a 
central  doorway  and  two  windows  on  each 
side  of  it.  The  garden  front  has  in  the 
middle  of  its  third  story  an  ojien  triple- 
arclied  loggia  of  Venetian  character,  the 
arches  springing  from  coupled  columns, 
with  windows  and  door  ungracefully  dis- 
tributed about.  There  is  an  interior  court 
about  '32  ft.  square  with  tliree  arches  on 
each  side  opening  into  vaulted  loggias, 
that  on  one  side  forming  the  entrance 
vestibule  from  the  garden. 

Palazzo  Goxdi,  an  early  Eenaissauce 
palace,  built  in  1481,  from  the  designs  of 
(liuliano  di  8.  Gallo.  It  has  a  fine  and 
characteristic  fa9ade,  which  seems,  how- 
ever, to  be  but  a  portion  of  what  was  orig- 
inally intended.  It  is  in  three  lofty 
stories,  the  first  of  bold  rustic  work,  the 
second  light  rusticated,  the 
third  J)  1  a  i  n  ;  the  whole 
height  being  about  SO  ft.  The 
openings  are  plain  roitnd 
arches  bordered  by  continu- 
ous mouldings,  the  archivolts 
bonded  in  with  the  rustic 
work.  Ill  tlie  first  story  of 
the  fa9adc  three  door -ways 
are  unsymmetrically  jjlaced, 
with  square  windows  between ; 
the  windows  above  are  arched, 
seven  in  each  story.  The  front 
is  ci'owned  by  a  simple  cornic- 
cione  with  square  modillion- 
blocks  and  dentils.  The  pal- 
ace encloses  an  interior  coui-t 
about  17  ft.  by  30  ft.,  with  a 
fountain  in  the  middle,  and 
a  beautiful  surrounding  open 
arcade  with  Corinthian  col- 
umns, one  side  of  which  is 
occupied  by  a  fine  decorated  staircase. 
The  palace  was  restored  in  1874r. 

Palazzo  Gcadagxi,  a  large  palace  pre- 
sumed to  date  from  the  middle  of  the  xv 
cent,  and  attributed  to  Cronaca.  It  has 
two  fajades  in  four  well-marked   stages. 


the  lowest  a  j)lain  wall  of  stone  witli  a 
row  of  square  windows,  its  angles  marked 
by  rustic  piers  of  slight  j)rojection,  the 
centre  of  the  principal  front  by  a  simple 
round-arched  doorway,  while  the  base  is 
brought  forward  so  as  to  form  a  continu- 
ous bench  on  both  fronts.  The  second 
and  third  stories  have  ranges  of  round- 
arched  windows.  All  the  openings  are 
framed  in  ri;stic  w'ork,  the  arches  being 
of  the  peculiar  Elorentine  type,  round  in 
the  soffit  and  pointed  at  the  back,  but  in 
this  case  slightly  ogeed.  The  distinctive 
decoration  is  a  band  of  rich  and  delicate 
Sgraffito  work  at  the  top  of  the  second 
and  third  stories.  The  fourth  story  is  an 
open  loggia  with  light  columns  of  com- 
posite design  over  the  jiiers  below,  and  a 
broad  eaves-cornice  of  great  projection. 
The   metal   work  of  the  exterior,  as  the 


Fig   71  — Florence,  Palazzo  Guadagn 


angle  -  lantern,  the  torch-holders,  the 
door  knockers,  etc.,  is  of  great  elegance. 
{See  Fig.  71.) 

Palazzo  Larderel,  a  small  Renais- 
sance palace  of  much  purity  and  elegance 
of    design,    built    about   1560    from    the 


137 


FLORENCE 


rlesijiiis  of  (iiovaniii  Antonio  Dosio,  of 
(ioniignano.  Its  tliree-storied  fagade  has 
a  square  doorway  enclosed  between  on- 
gaged  Doric  columns  carrying  entablature 
aud  pediment  and  flanked  by  two  win- 
dows of  similar  design,  resting  on  broad 
sills  supported  by  consoles.  The  two 
upper  stories  have  each  three  square  win- 
dows with  simple  pilasters  carrying  en- 
tablature and  pediment,  of  which  the 
lines  are  carried  across  the  front.  The 
angles  of  the  building  are  marked  by 
pilasters  of  rustic  work  carrying  light  en- 
tablatures which  cross  the  front  under  the 
windows.  At  the  top  is  a  bold  modillion- 
cornice. 

The  Pai,azzo  Xox  Fixito,  so  called 
from  its  having  been  left  unfinished,  is  a 
conspicuous  palace  Ijegun  in  WM  from  the 
designs  of  Hiu)ntalenti,  and  carried  on 
under  successive  architects.  Its  fajade  is 
in  three  stories,  of  which  the  first  only,  in 
a  baroco  style,  was  the  work  of  Buonta- 
lenti,  the  front  having  been  finished  under 
Scamozzi.  It  has  a  fine  and  spacious 
court  of  unusual  design  Ijy  Luigi  Cigoli, 
measuring  about  34  ft.  by  TO  ft.,  sur- 
rounded on  the  first  story  by  an  open 
vaulted  arcade  whose  great  iirches,  spring- 
ing from  the  entablature  of  an  order  of 
coupled  Roman  Doric  columns,  alter- 
nate with  square  openings.  The  wall 
of  the  upper  stories  is  divided  by  flat 
vertical  strips  into  jiauels  enclosing  win- 
dows of  various  forms. 

Palazzo  I'axdolfixi.  The  design  of 
this  palace,  built  about  I'riO  for  the  bish- 
op of  Troja,  Oianozzo  Paudolfini,  is  attrib- 
uted to  Raphael,  but  the  work  was  car- 
ried out  after  his  death  by  Giovanni 
Francesco  di  Sangallo.  Its  fajade  is  of 
extreme  elegance,  and  marks  the  definite 
abandonment  of  the  severer  style  of  the 
older  Florentine  palaces.  It  is  about  165 
ft.  in  length,  and  has  the  appearance  of 
having  been  left  incomplete  ;  the  main 
mass  being  flanked  instead  of  divided  by 
a  great  central  doorway,   a  simple  round 


arrh  eni-l(isc(l  in  vigorous  rustic  stone- 
work. It  has  two  stories  of  windows, 
crowned  by  pediments  alternately  trian- 
gular and  segmental,  those  of  the  upper 
story  being  borne  by  engaged  Ionic  col- 
umns standing  on  a  balustraded  stylobate. 
The  lines  of  the  entablatures  of  the  sec- 
oiul-story  windows  cross  the  front  antl  the 
piers  are  panelled.  The  walls  of  the  build- 
ing are  of  smooth  stucco,  its  angles  em- 
phasized by  rustic  quoins,  and  the  front  is 
crowne<l  by  a  fine  and  strong  cornice  with 
modillions  and  dentils,  and  with  a  broad 
frieze  bearing  an  inscription  proclaiming 
the  name  and  office  of  the  owner.  To  the 
right  of  the  central  doorway  only  the  first 
story  of  this  composition  is  carried  out. 

Palazzo  Pitti,  the  largest  ami  in 
some  respect  the  finest  of  the  Florentine 
palaces  and  one  of  the  most  striking  ex- 
amples of  the  XV  cent,  domestic  architect- 
ure. It  was  begun  in  about  1440  from  the 
designs  of  Brunelleschi,  for  Luca  Pitti,  the 
chief  of  tlie  faction  opposed  to  the  rule  of 
the  iledici.  It  has  a  fayade  something 
like  600  ft.  long,  a  mass  of  cyelopean  rock- 
faced  masonry,  its  separate  stones  of  enor- 
mous size,  aiul  all  its  parts  of  corre- 
sponding scale.  The  design  is  of  the 
severest  simplii'ity,  the  great  front  is  un- 
broken by  a  single  vertical  division,  but 
while  the  greater  part  of  it  has  oidy  two 
stories,  the  centre  is  carried  a  story  higlier. 
The  three  stories  have  each  a  height  of 
nearly  40  ft. ;  the  walls  are  pierced  by  a  series 
of  round  arches  in  each  story,  about  \2  ft. 
witle.  In  the  lower  story  there  are  half  as 
many  as  above  ;  they  enclose  pedimented 
windows  on  sills  supported  by  consoles. 
The  arches  of  the  two  upper  stories  en- 
close plain  square-headed  windows  with 
rounil  holes  in  the  tympana.  All  are 
arched  with  voussoirs  of  great  height, 
whose  cxtrados  forms  a  pointed  arch. 
The  stories  are  separated  Ijy  heavy  mould- 
ed string-courses,  with  a  balustrade  above. 
The  cornice  is  but  a  repetition  of  these, 
and   the  ahsence  of  an  adequate  main  cor- 


13S 


FLORENCE 


nice  is  tlie  one  serious  defect  of  this  noble 
fayade.  From  each  extremity  of  the 
front  a  broiid  terrace  advances  at  right 
angles,  which  is  an  ojjen-arehed  loggia 
corresponding  iu  char- 
acter with  the  main 
building.  Of  this  fa- 
jade  only  the  central 
portion  was  built  by 
Brunelleschi,  the  palace 
remaining  unfinished 
for  a  hundred  years  af- 
ter the  fall  of  its  orig- 
inal owner,  and  jiassing 
into  the  hands  of  Cos- 
imo  I.,  who  toward  the 
end  of  the  xvi  cent, 
built  the  great  interior 
court  from  the  designs 
of  Ammanati,  enclosed 
on  three  sides  and  open 
on  the  fourth  side  to- 
ward the  gardens.  The 
three  elevations  are  in 
three  stories  of  vigorous  rustic  work,  each 
faced  with  an  order  of  rustic  columns.  Dor- 
ic, Ionic,  and  Corinthian  respectively,  the 
first  enclosing  the  open  arches  of  a  vaulted 
arcade,  the  intervals  of  the  second  and  third 
filled  with  windows  alternately  square- 
headed  and  arched.  The  upper  entabla- 
ture is  treated  as  a  corniccione.  The  in- 
terior of  the  palace  has  many  sumptuous 
ajiartments  with  columns  of  verd-antique 
supporting  vaulted  ceilings  decorated  in 
stucco  and  painted  by  Pietro  da  Cortona 
and  other  masters,  with  niches  enclosing 
statues  and  rich  pavements  of  colored 
marbles.  The  finest  of  these  are  now  oc- 
cupied by  the  magnificent  collection  of 
pictures  known  as  the  Pitti  Gallery.  {See 
Fig.  72.) 

The  Palazzo  del  PodestA,  or  Bak- 
GELLO,  was  the  residence  of  the  chief 
magistrate  of  the  Republic.  It  was  begun 
in  1250  by  Lapo,  a  German,  continued  by 
F.  8isto  and  Ristoro  di  Campi.  and  sub- 
stantially rebuilt  a  centur}'  later.     It  cov- 


ers an  area  about  llU  ft.  by  200  ft.  The 
exterior  is  of  irregular  architecture,  the 
walls  of  strong,  rough  stone-work,  mainly 
in  three  stages,  but  of  unequal  heights. 


Fig   72, — Florence,  Palazzo  Pitti,  Rear  Corner. 

The  lower  stage  has  plain  arched  door- 
ways and  small  windows  high  in  the  wall. 
The  second  is  X\\e  jiiann  nobili',  with  l)road. 
two-light  pointed  and  cusped  windows 
with  mullion  shafts  and  round  or  point- 
ed bearing-arches.  The  third  story  is  of 
various  heights,  with  windows  of  various 
design  ;  the  walls  finish  with  a  strong 
arched  corbel-table  and  square  battlements. 
A  slender  campanile  rises  from  the  angle, 
about  IS  ft.  square  and  170  ft.  high,  with 
tall  single  round-arched  windows  in  the 
belfry  stage  and  a  battlemented  head. 
The  interior  contains  a  fine  and  extremely 
interesting  court,  an  oldique  quadrangle  of 
about  05  ft.,  with  a  three-arched  vaulted 
loggia  on  thi'ce  sides,  with  round  arches 
on  octagonal  jners  with  foliated  caps, 
above  which  is  an  open  vaulted  gallery 
with  six  arches  of  the  same  character 
as  those  below.  The  third-story  wall  is 
flat,  lighted  by  fine  broad-pointed  arched 
cusped  windows  with  angle  shafts.  A 
2)icturesque  ojjcn  staircase  rises  from  the 


FLOKKXCE 


Ftg,  73- — Floience,  Pal.  del   Pudesta  (Bargello),  Loggia. 

court  to  the  second-story  gallery,  with  a 
square  gateway  on  a  landing  at  mid- 
height.  The  interior,  containing  some 
noble  apartments,  notaljly  the  great  vault- 
ed hall  about  5-2  ft.  by  85  ft.  and  nearly  (JO 
ft.  liigh,  has  been  lately  restored  with 
great  thoroughness  and  good 
judgment,  ami  contains  the 
National  Museum,  an  extensive 
and  admirable  collection  of  ob- 
jects illustrating  the  history  and 
art  of  Florence.  {See  Fig.  73.) 
Palazzo  Uiccakdi.  one  of 
the  largest  and  most  imposing 
of  the  early  Florentine  palaces  : 
begun  in  1-tliO  for  Cosimo  de' 
j\lediri  from  the  designs  of  Mi- 
chelozzi.  It  has  three  stories,  of 
the  height  respectively  of  18  ft.. 
2-3  ft.,  and  33  ft.  Its  principal 
fa(;ade  is  about  230  ft.  long  and 
80  ft.  high,  unbroken  by  any  ver- 
tical division  ;  the  first  story  of 
vigorous  rock-faced  stone-work, 
the  second  of  smooth  rustic  ma- 
sonry, and  the  third  of  ])lain 
ashlar.  'V\w  first  story  shows 
five  broad.  sim])le.  round-arched 
recesses,  widely  s))aced.  and  al- 
ternately occupied  by  doorways 
aiul  square-headed  wiiulows,  said 
to  have  been  designed  by  Michael 
Angelu.   wiili    broad    projecting 


sills   supported   on   consoles   and    bold 
])edimented    caps.      The    second    and 
third  stories  have  ranges  of  two-light 
windows   with   arched   openings   .sepa- 
ratt'(l  by  a  column  and  covered  by  round 
i)earing-arehes  of  the   Florentine  cres- 
cent  shape    over   continuous   moulded 
aicliivdlts.    The  stories  are  divided  by 
lUdulded  string-courses  and  the  front  is 
crowned  by  a  vigorous  and   admirably 
designed  corniccione.     Tlii'  [lalace  en- 
closes a  small  interior  court  about  38 
ft.  square,  with  an  open  vaulted  arcade 
on  the  first  story,  the  second  composed 
of  two-light  windows  like  those  of  the 
front,  and  the  third  of  a  very  light  open 
loggia,  its  roof  carried  on  thin  Composite 
columns.     A   broad  frieze  over  the  first 
story   arcades    contains    medallions    with 
bas-reliefs    by    Donatello.      The   interior 
contains  a  great  gallery  painted  by  Luca 


.  74 — Florence.  Pal,  Riccatdi. 


FLORENCE 


Giordano,  :iiul  ;i  cliapel  with  frescoes  by 
Benozzo  (Jozolli.  The  palace  is  now  used 
for  iioverunu'nt  offices.     {See  Fuj.  74-) 

Palazzo  IIucellai,  an  early  Eenais- 
sance  palace,  built  about  1450  and  cur- 
rently ascribed  to  Leon  Battista  Alberti. 
It  lias  an  unfinished  fa(;ade  about  To  ft. 
long  in  three  stories  of  rustic  masonry, 
faced  by  three  orders  of  tlat  pilasters — 
the  first  ornamented  Tuscan,  the  second 
composite,  the  uj:)per  Corinthian.  There 
are  seven  bays,  and  the  beginning  of  an 
eighth.  In  the  street  story  two  are  occu- 
pied by  rather  low  square-headed  doorways 
with  broad  architrave  and  horizontal  cap, 
above  which  in  each  bay  is  a  small  square 
window.  In  the  second  and  third  stories 
are  two-light  windows  under  broad  round 
arches.  The  entablatures  are  carried  un- 
broken across  the  whole  front  and  their 
friezes  are  decorated  with  arabesques  in  re- 
lief. The  u^jper  entablature,  making  the 
cornice  of  the  fa9ade,  is  extremely  heavy. 
The  design  of  the  whole  is  delicate,  and 
the  relief  very  slight.  There  is  some 
ground  for  attributing  the  design  to  Kos- 
sellino,  whose  work  at  Pienza  it  much  re- 
sembles. 

Palazzo  Strozzi,  perhaps  the  finest 
and  most  consistent  example  of  the  dis- 
tinctive Florentine  palace  architecture  of 
the  XV  century.  It  was  begun  in  1489  for 
Fillippo  Strozzi,  by  Benedetto  da  Majano. 
and  finished  by  Simone  dal  Pollajuolo, 
called  II  Cronaca,  to  whom  the  architect- 
ure of  the  court  is  due.  Its  j^lan  is  a 
rectangle  of  159  ft.  by  174  ft. ;  with  fronts, 
substantially  alike  in  design,  on  three 
streets,  each  with  a  simple  round-arched 
entrance  iu  the  middle,  from  which  a  pas- 
sage leads  to  the  centre  of  an  interior 
court.  The  walls  are  entirely  of  plain 
rustic  stone-work  of  extreme  boldness,  and 
in  three  stories  measuring  respectively  "•2(5 
ft..  30  ft.,  and  35  ft.,  the  whole  height  of 
the  wall  being  about  104  ft.  The  upper 
story  is  internally  divided  into  two,  the 
upper  being  lighted  from  the  court.     The 


windows  of  tlie  street  story  are  small 
square  ojjcnings  set  high  in  the  wall  ; 
tliose  of  the  two  upj)er  stories  are  alike, 
being  two -light  windows  with  round, 
arched  openings  separated  by  columns  un- 
der a  round  bearing  -  arch,  the  voussoirs 
increasing  in  depth  toward  the  centre. 
Tliin  dentil  -  cornices  divide  the  stories. 
The  finely  profiled  classic  eoruiceione  with 
its  broad  nndecorated  frieze  is  complete 
only  on  one  fa9ade.  A  stone  bench  runs 
round  the  base  of  the  entire  palace.  The 
great  iron  lanterns  or  cressets  at  the  an- 
gles of  the  fayades  are  characteristic  and  ex- 
cellent examples  of  mediaeval  metal-work. 
The  interior  court,  about  3G  ft.  by  58  ft., 
is  surrounded  on  the  first  story  by  a  vault- 
ed corridor  with  an  open  arcade  of  round 
arches  with  moulded  archivolts,  springing 
directly  from  Corinthian  columns.  The 
second  story  is  likewise  a  round-arched 
arcade,  with  broad  flat  pilasters  resting  on 
pedestals,  and  enclosing  square  windows 
with  moulded  architraves.  The  mould- 
ings of  the  pilaster  capitals  are  continued 
across  the  arches  and  the  arch-head  is 
pierced  with  a  single  circular  opening.  A 
full  entablature  encircles  the  court  above 
each  arcade.  The  third  story  is  an  ojien 
loggia  with  a  sloping  roof  supported  on 
light  Corinthian  columns  standing  on  a 
balustrade. 

Palazzo  deoli  Uffizi,  an  imposing 
group  of  buildings,  begun  by  ^'asari  in 
1560,  and  finished,  after  his  death,  by 
Buontalenti.  for  the  accommodation  of  the 
various  administrative  offices  of  the  gov- 
ernment, but  best  known  in  later  days  as 
the  home  of  one  of  the  most  extensive  and 
admirable  collections  of  pictures  in  exist- 
ence. The  buildings  consist  of  two  nar- 
row wings,  enclosing  a  court  about  450  ft. 
long  and  nearly  60  ft.  broad,  open  toward 
the  Piazza  della  Siguoria,  and  closed  tow- 
ard the  Arno  by  a  cross  building  whose 
first  story  is  a  triumphal  arch.  The 
buildings  are  four  stories  in  height,  of 
which  the  first  is  an  open  vaulted  corridor 


141 


FLOKENCE 


about  20  ft.  wide,  with  an  order  of  Doric 
coliiiiiii.s  divided  into  fjronps  of  two  by 
broad  flat  jjilasters,  wliieli  in  the  first  story 
bear  on  tlieir  faces  niches  containing 
statues  of  famous  Florentines.  The  win- 
<l()ws  above  are  grouped  to  correspond. 
Above  tlie  colonnade  is  a  mezzanine  witli 
plain  square  windows  witli  flat  consoles 
between  supporting  an  entablature  ;  then 
a  piano  )iiiliih>.  with  long  windows  with 
balcony  and  pediment,  and  lastly  a  high 
upper  story,  once  an  open  loggia,  with 
light  columns  answering  to  those  below, 
now  closed  by  glazed  frames  which  light 
the  corridors  of  the  picture  galleries.  A 
thin  sloping  eaves-cornice  of  nearly  7  ft. 
projection  finishes  the  comj)osition. 

Palazzo  Ucu'ccione,  a  small  Renais- 
sance building  dating  from  about  1550, 
with  an  unfinished  fayade  of  unusual  ele- 
gance, of  which  the  design  has  been  com- 
monly attributed  to  Raphael,  by  a  few  to 
I'alladio,  but  which  later  authorities  be- 
lieve to  have  been  by  Mariotto  di  Zanoli- 
Folfi.  The  fa9ade,  about  54  ft.  broad,  is 
in  three  stories,  the  first  composed  of  three 
arches  of  strong  rustic  masonry  on  mas- 
sive square  j)iers,  and  crowned  l^y  a  balus- 
trade. The  second  and  third  stories  are 
each  faced  with  an  order  of  coupled  col- 
umns. Ionic  aiul  Corinthian  respectively, 
on  pedestals,  in  the  intervals  of  which  are 
long  rectangular  windows  \vith  plain  archi- 
traves and  pedimented  caps.  The  masonry 
ends  with  the  architrave  of  tlie  npijier  or- 
der and  the  front  is  covered  by  a  broad 
projecting  eaves-cornice.  Over  the  mid- 
dle arch  of  the  lower  story  was  a  bronze 
bust  of  Francis  I.  by  John  of  Bologna. 

Palazzo  Vecciiio,  the  old  jialace  of  the 
Signory,  a  striking  and  magnificent  ex- 
ample of  the  half  civil,  half  military  archi- 
tecture of  mediitval  Italy.  The  original 
l)uilding  was  begun  in  12'J8  under  Arnolfo 
da  Lapo,  continued  into  the  next  century 
and  finished  by  Taddeo  Gaddi.  Toward 
the  end  of  the  xiv  cent,  it  was  enlarged 
to  the  eastward   to  more  than  double   its 


original  size,  ami  about  1440  it  underwent 
important  changes,  mainly  afi'ecting  tiie 
interior,  under  Michelozzo  Michelozzi. 
The  comjileted  palace  covers  an  area  about 
140  ft.  by  -Zm  ft.  Its  facade  toward  the 
great  square  is  of  strong  stone  masonry,  in 
four  well-nuirked  stages,  of  which  the  first 
three  are  resi^ectively  of  the  heights  of  37 
ft.,  33  ft.,  and  23  ft.  The  lowest  stage  is 
a  basement,  withotit  openings,  except  a 
single  plain  round-arched  doorway  and 
four  small  round-headed  windows.  The 
second  and  third  stories  are  substantially 
alike,  each  having  a  range  of  broad  two- 
light  windows,  with  pointed  aiul  cus])ed 
openings  sejjarated  by  a  column,  and  cov- 
ered by  a  round  bearing-arch,  of  which 
the  high  voussoirs  have  a  pointed  extrados. 
Over  the  second  story  is  a  mezzanine  with 
small  windows.  The  wall  of  the  fourth 
stage,  about  20  ft.  high,  is  j)rojected  forward 
with  a  range  of  machicolations  of  extraor- 
dinary boldness,  the  arches  being  nearly 
6  ft.  broad  and  12  ft.  high,  carried  on 
straight  corbels,  whose  projection  from  the 
wall  is  near  G  ft.  Above  these  the  wall  of 
the  f(nirth  story  is  pierced  with  a  range  of 
thirteen  plain  round-arched  windows,  and 
the  wall  ends  in  high  square  battlements. 
The  campanile,  measuring  2G  ft.  on  the 
face  and  about  IS  ft.  in  depth,  is  a  marvel 
of  bold  construction,  its  front  wall  l>eing 
a  continuation  of  the  projecting  fourth- 
story  wall  of  the  fa9ade,  and  its  head  be- 
ing crowned  with  machicolations  upon 
nearly  the  same  scale  with  those  below, 
the  wall  above  terminating  in  forked  bat- 
tlements, within  which  rises  an  open  bel- 
fry, with  single  round  arches  on  massive 
round  piers,  with  high  foliated  capitals. 
Above  the  arches  the  wall  ends  in  an 
arched  corbel -table  with  forked  battle- 
ments above  and  a  pyramidal  roof.  The 
tower  is  about  2<S0  ft.  high,  exclusive  of 
the  roof.  The  entrance  from  the  I'iazza 
leads  directly  to  a  fine  court,  an  irregular 
quadrangle  of  about  40  ft.  across,  sur- 
rounded bv  a  noble  loggia,  its  bold    round 


FLOEENCE 


arclics  springing  from  columns  which  at 
the  angles  are  octagonal.     The  shafts  are 
decorated  with  arabesques  in    relief,   the 
work  of  Michelozzi  in  the  xv  cent.,  and 
the  walls  of  the  loggia  are  covered  with 
large  frescoes  representing  the  cities  with 
which  Florence  was  connected  at  that  pe- 
riod, and  its  vaults  with  decorations  in  the 
manner  of  the  disinterred  Roman  jialaces. 
The  walls  of  the  court  above  the  arcade 
are  two  stages  in  height  with  fine  two- 
light  windows  nndcr  round  bearing-arch- 
es, and  various  smaller  ojjenings.    Beyond 
the  court  a  fine   double   staircase  leads 
to  the  njiper  stories,   where   are   many 
apartments  of  great  size  and  splendor, 
notably  the  great  hall  of  the  council  on 
the  second  story,  about  8,i  ft.  by  ITO  ft., 
with  a  magnificent  jianelled  and  decorated 
ceiling,  which,  as  well  as  the  walls,  is  cov- 
ered with  frescoes  by  V'asari  dating  from 
1530.     The  8ala  dei  Dugento,  or  Hall  of 
the  Two  Hundred,  has  also  a  remarkahlc 
panelled  ceiling.     {See  Fifj.  75.) 

SS.  AxoELi,  an  unfinished  Renaissance 
church  of  Avhich  the  exact  date  cannot 
now  be  ascertained,  but  belonging  to  the 
first  half  of  the  xv  century.     It  was  be- 
gun from  the  designs  of  Brunelleschi,  ami 
the  work  was  suspended  when  the  walls 
had  reached  the  height  of  about  20  ft. 
The  building  is  interesting  from  the  ele- 
gance of  its  plan,  a  sixteen-sided  polygon 
of  a  diameter  of  about  90  ft.  with  a  cen- 
tral octagonal  space  .51  ft.  in  diameter, 
from   which   open   eight   square    vaulted 
chapels,  with  semicircular  niches  in  their 
abutting  ends.     On  the  exterior  every  al- 
ternate side  had  also  a  semicircular  niohe 
in   the   thickness   of    the   partition    wall 
between  the  chapels. 

Sta.  Axxuxziata,  originally  a  Gothic 
church,  founded  in  1250,  but  greatly  al- 
tered and  modernized  in  the  xv  cent,  by 
Leon  Battista  Alberti.  Across  the  front 
of  the  church  is  an  open  loggia  of  light 
arcades  on  comjjosite  columns  carrying 
blocks  of  entablature.     This  ojiens  by  a 


central  door  into  a  large  atrium  or  fore- 
court, surrounded  by  vaulted  arcades,  orig- 
inally open  but  now  closed  by  glass  sashes 
for  the  better  protection  of  the  admirable 
frescoes  by  Andrea  del  Sarto  and  other 
masters.  The  interior  consists  of  a  nave 
aljout  48  ft.  wide,  covered  by  a  flat  j»an- 


Fig    75 —Florence,  Pal    Vecchio. 

elled  ceiling  decorated  with  gold  and 
color,  without  aisles,  but  with  a  row  of 
rectangular  chapels  opening  from  it  by 
semicircular  arches  on  each  side,  in  the 
intervals  of  an  order  of  pilasters,  and 
rectangular  windows  in  the  wall  above. 
The  nave  opens  into  a  circular  choir  about 
75  ft.  in  diameter,  surrounded  by  semi- 
circular niches  and  covered  by  a  dome 
raised  on  a  tambour  lighted  by  eight  win- 
dows, and  decorated  with  frescoes  by 
Daniele  da  Volterra.  A  small  square 
chapel  opens  from  the  rear  of  the  choir. 


143 


ft/»i;k\ce 


which  contains  the  tomb  of  John  oi'  Uo- 
logna.  In  tlie  clioir  are  many  sculptures 
and  paintings  by  famous  masters.  On 
the  north  side  of  tlie  church  is  a  square 
cloister  surrounded  by  vaulted  arcades  on 
Corinthian  columns. 

yS.  Apostoli,  an  ancient  church  of 
uncertain  date,  but  known  to  be  anterior 
to  the  XI  cent.,  and  said  to  have  been 
founded  early  in  the  ix  by  Charlemagi\c. 
It  is  a  small  basilica,  about  90  ft.  long  and 
53  ft.  wide  ;  the  nave,  about  30  ft.  wide, 
ending  in  a  semicircular  tribune,  and 
separated  from  the  aisles  l)y  seven  round 
arches  on  eacli  side,  springing  from  Co- 
rinthian columns  of  serpentine,  above 
which  is  a  clerestory  with  s(]uare  windows, 
and  a  round  barrel-vault.  The  aisles  are 
vaulted  and  terminate  in  square  niches, 
and  the  aisle  walls  are  pierced  by  arches 
corresponding  to  those  of  the  nave,  and 
ojjening  into  chapels.  The  front  is  painted, 
and  has  three  doorways.  The  church  is 
said  by  Vasari  to  have  served  Brunellcschi 
as  a  model  for  San  Lorenzo. 

Sta.  Cuoce,  after  the  cathedral  the 
largest  and  must  famous  of  all  the  Florcn- 


Fig.  76, — Florence,  Sta   CroC' 


tine  churc;hes,  was  built  for  the  Francis- 
cans at  the  end  of  the   xiii   cent.,  by 

Arnolfo  da   Lapo,  who  at  the  same  time 


was  architect  of  the  catlicdriil.  It  is  a 
(lothic  cruciform  church  of  enormous 
size,  whose  length  is  variously  given  from 
350  ft.  to  490  ft.  It  has  a  great  nave  (iO 
ft.  wide,  flanked  by  aisles  25  ft.  wide, 
from  which  it  is  separated  by  a  range 
of  seven  high  pointed  arches  on  each  side, 
s])ringing  from  octagonal  piers  with 
])linths  and  foliated  capitals  from  which 
flat  jiilasters  rise  through  the  clerestory 
to  stone  corbels  bearing  the  tie-beams 
of  the  bare  open-framed  roof.  A  light 
iron  Ijalcony  resting  on  corbels  runs  at 
the  base  of  the  clerestory,  whose  wall  is 
pierced  with  a  plain  two-light  pointed  win- 
dow in  each  bay.  From  each  nave  jiier  a 
pointed  arch  spans  the  aisle,  dividing  it 
into  bays,  each  covered  by  a  low  gable 
roof  at  right  angles  to  the  wall.  In  each 
bay  is  a  two-light  window  similar  to 
those  of  the  clerestory.  The  transept  is 
short  and  narrow,  and  the  nave  arcades 
are  carried  across  it  with  a  single  higher 
pointed  arch  on  each  side,  over  which  the 
gallery  jumjjs  awkwardly.  From  the  east 
wall  of  the  transept  opens  in  the  centre, 
l.iy  a  high  jiointed  arch,  the  short  choir, 
_  covered  by  a  groiiuMl  vault,  and 

ending  in  an  octagonal  apse  with 
tliree    windows.      The   choir   is 
Hanked    by   five    small    square 
vaulted    chapels    on    each    side, 
each  opening  from   the  ti'aiiscpt 
by    a    low    iMiiiitcd    arch.     Tlie 
ai'cliitecture    of    the    church    is 
without    intei-est  or   merit,   the 
interior    is   cold    and    bai'c   not- 
withstanding that  the  windows 
arc  for  the  most  part  glazed  with 
good  ])ainted  glass,  notably  the 
^^      i,n-eat  round  window  of  the  front. 
I      The   interest   of   the    church    is 
'      wholly  in   its  associations  with 
the  great   Florentines  who  are 
buried     here,    .Michael    Angelo, 
(Jalileo,  Jlacchiavelli,  and  others,  and  in 
the   frescoes   of  (iiotto.   and   other   great 
painters  in  the  IVruzzi  an<l  liardi  and  otli- 


BAALBEK-'TEMPLE  OF  JUPITER,  NORTH  FRONT 


■  W|W-«*«vJc:  :•    ..-.-.*■-    '-.-ii-'i'.   ~    Vt'Uf'^iS^VS'i-; 


FLORENCE 


er  chapels.  On  the  exterior  wall  of  eacli 
aisle  is  a  vaulted  open  arcade  of  round 
arches,  that  on  the  south  making  one  side 
of  the  great  cloister  K50  ft.  square,  connect- 
ing the  cliurch  with  its  conventual  build- 
ings. From  one  side  of  the  cloister  opens 
the  Cappella  Pazzi  {q.  v.).  The  facade  of 
the  churcli  was  left  unfinished  until  18G3. 
It  is  of  white  marble,  divided  into  upright 
rectangular  panels  by  lines  of  black  marble. 
It  is  in  three  compartments,  correspond- 
ing to  the  nave  and  aisles,  each  covered 
by  a  gable  and  flanked  by  buttresses  ter- 
minating in  jjinnacles.  A  rather  thin 
arched  corbel-table  crosses  the  whole  front 
at  the  level  of  the  aisle  cornices,  and  a 
similar  one  follows  the  rake  of  the  central 
gable.  In  each  division  is  a  fine  pointed 
arched  doorway,  the  tympanum  filled  with 
carving,  surmounted  by  a  crocketed  gable 
and  flanked  by  jnnnacles.  The  original 
round  window  occupies  the  centre  of  the 
upper  stage.  The  slender  square  camjDan- 
ile  with  high  pointed  and  gabled  belfry 
arches  and  spire  above  was  finished  in 
1805.     {See  Figs.  67,  76.) 

S.  Felice,  a  singular  small  Renais- 
sance Dominican  church,  ascribed  in  its 
present  form  to  Michelozzo  in  14.57, 
but  existing  from  a  much  older  period. 
It  is  a  long  rectangle,  measuring  about  50 
ft.  in  width  and  nearly  300  ft.  in  length, 
without  aisles  or  transept,  covered  by  an 
elliptical  barrel-vault.  The  western  half 
is  divided  in  height  by  a  nuns'  gallery 
supported  on  two  lines  of  Tuscan  columns 
carrying  a  groined  vaulting.  From  the 
east  end  projects  a  square  choir  flanked 
by  a  small  square  chapel  on  each  side. 
The  simple  facade  has  a  central  doorway 
under  an  order  of  Corinthian  jiilasters  and 
a  semicircular  pediment,  and  is  itself  cov- 
ered by  a  low  pediment, 

S.  FRAXCE.SCO  AL  MoxTE,  a  XV  ceut. 
Renaissance  church,  of  which  the  design  is 
attril)uted  to  Cronaca.  A  bald  ill-propor- 
tioned front  covers  the  broad  nave  and 
narrow  aisles  of  a  rectangle  about  l(i5  ft. 


long  and  76  ft.  wide.  The  nave  is  about 
120  ft.  long  and  44  ft.  wide,  the  aisles 
divided  into  a  series  of  square  chapels 
opening  behind  Roman  arcades  in  the  in- 
tervals of  an  order  of  Doric  2)ilasters,  car- 
rying a  continuous  entablature.  Above  is 
a  clerestory  faced  with  similar  pilasters 
between  wliich  each  rectangular  window 
is  framed  in  a  snudl  order  with  a  pediment. 
The  nave  is  covered  by  an  open  trussed 
roof.  A  square  choir  opens  from  the 
nave  by  a  high  triumphal  arch. 

S.  LoREXZo,  the  church  of  the  Medici, 
occupies  the  site  and  embodies  a  portion 
of  the  structure  of  one  of  the  oldest  build- 
ings in  Florence.  Consecrated  by  St. 
Ambrose  in  393,  it  was  partially  or  wholly 
rebuilt  in  the  xii  century.  After  suffering 
great  injury  by  fire  in  the  xv  cent,  it  was 
again  substantially  rebuilt,  and  on  a  much 
larger  scale,  from  the  designs  of  Rruuell- 
eschi.  The  work  was  begun  in  1425  and 
completed  after  his  death.  The  church 
is  cruciform,  with  a  length  of  254  ft.  and 
an  extreme  breadth  of  244  ft.  Tlie  nave 
and  aisles  are  separated  by  Corinthian 
columns  of  stone  stuccoed  over,  carrying 
blocks  of  entablature  from  which  spring 
round  arches,  eight  on  each  side,  over 
which  is  a  high  clerestory  with  single 
round-arched  windows,  and  a  flat  wooden 
ceiling,  72  ft.  above  the  pavement,  deco- 
rated with  gold  and  color.  The  crossing 
is  bounded  by  four  high  round  arches  and 
covered  by  a  square  lantern  finished  with- 
in as  a  low  hemispherical  dome  35  ft.  in 
diameter,  surmounted  on  the  exterior  by 
a  square  ojjen  loggia  as  large  as  the  lan- 
tern below.  The  choir  and  transept 
arms  are  square  and  flat-ceiled ;  about 
them  cluster  a  series  of  square  chapels, 
each  covered  by  a  low  round  dome.  The 
bays  of  the  aisles  are  domed  in  like  man- 
ner, and  flanked  each  by  a  shallow  rectan- 
gular chapel.  At  the  eastern  end  of  the 
nave  stand  two  rectangular  puljiits  of 
bronze  supported  on  rich  marble  columns 
with   Ionic  capitals,  and  bearing  on  their 


145 


FLORE^■CE 


faces  iuliiiiruble  reliefs  by  Donatello  and  cedony,  etc.,  with  armorial  bearings  and 
his  jjupil,  Bertoldo.  At  the  angles  of  the  other  devices.  It  contains  the  tombs  of 
north  and  soutli  transejjts  are  two  sqnare     varions  members  of  the  Medici  family  in 

red  and  gray  granite,  of  great  magnifi- 
cence. The  vaulted  roof  is  covered  with 
frescoes  painted  by  Pietro  Benvennto  in 
1828-37.  The  church  shows  the  largeness 
and  fineness  of  projjortiou  which  belong 
to  Bruuelleschi,  also  the  leanness  and 
meagreness  of  his  details,  especially  of  his 
entablatures  and  cornices.  Jlichael  An- 
gelo  made  a  design  for  the  facade,  which 
is  still  23reserved.  He  only  executed, 
besides  the  new  sacristy,  the  decoration  of 
the  inside  of  the  front  about  the  main 
doorway.  On  the  south  side  of  the 
church  is  a  large  square  cloister,  from 
which  opens  the  Laurentian  Library  {q. 
v.).  The  exterior  of  the  church  is  with- 
out interest,  and  is  in  great  measure  con- 
cealed by  adjacent  buildings.  The  fa9ade 
remains  unfinished.     (See  Fiff.  77.) 

Sta.  Maria  Xovella,  a  Dominican 
Gothic  church,  begun  in  1:278  under  two 
monks  of  that  order,  Fra  Sisto  and  Fra 
Eistoro ;  not  finished  till  the  middle  of  the 
XIV  century.  Some  portions  of  an  older 
sacristies,  known  as  the  old  and  new  sac-  church  on  the  same  site  were  retained, 
risty  respectively,  the  former  built  by  Its  plan  is  a  Latin  cross  about  320  ft. 
Brnnelleschi  and  richly  adorned  with  long  and  88  ft.  wide,  with  transept  203 
paintings  and  monuments  :  the  latter  by  ft.  long.  The  nave  is  separated  from  the 
Michael  Angelo,  between  1520  and  1534,  aisles  by  six  high  pointed  arches  on  each 
for  the  Medieean  Poj)es,  Leo  X.  and  side  of  unequal  widths,  springing  from 
Clement  VII,,  to  receive  the  tombs  of  piers  whose  section,  including  the  vaulting 
Giuliano  and  Lorenzo  de'  Medici,  the  son  shafts,  is  a  quatrcfoil.  The  high  clere- 
and  grandson  of  Lorenzo  the  Magnificent,  story  is  pierced  with  a  single  rouiul  win- 
whose  statues  and  tombs  with  their  asso-  dow  in  each  bay.  The  nave  vault  is 
ciated  sculpture  are  among  the  most  cele-  groined  in  square  bays.  The  spring  of 
brated  works  of  Michael  Angelo.  Directly  the  vaults  is  below  the  tops  of  the  main 
behind  the  choir,  but  not  communicating  arches  and  the  walls  above  them  are 
with  it,  is  the  octagonal  chapel  of  the  ilcd-  unbroken  except  by  small  round  clerc- 
ici,  Capella  dei  Principi,  with  recesses  of  story  windows  high  up  under  the  vaults, 
various  ungraceful  forms  opening  from  The  disposition  of  the  transept  is  pecul- 
four  of  the  sides.  It  is  remarkable  rather  iar,  each  arm  having  a  double  bay  corre- 
for  the  richness  of  its  materials  than  for  its  spondiug  to  the  two  chapels  that  flank  the 
architectural  merit,  its  walls  being  quite  choir  on  that  side,  and  at  each  end  a 
covered  with  the  most  costly  marbles,  large  square  chapel,  one  having  its  floor 
jasper,  porphyry,  agate,  lapis  lazuli,  chal-     raised    above    that   of   the   transept,    and 

146 


Fig.  77. — Florence.  S.  Lorenzo. 

1.  Cap.  dei  Piincipi.     2.  Old  Sacristy.     3    New  Sacristy. 

Scale  of  100  feet. 


FLOEENCE 


approached  by  a  stairway.  These  chapels 
are  remarkable  for  their  pictorial  adorn- 
ment, that  of  tlie  south  transept,  called 
the  CapelLi  Rucellai,  containing  the  fa- 
mous Madonna  of  Cimabue,  painted  in 
1:270,  with  other  notable  pictures  ;  that  of 
tlie  north  transeiit,  the  Capella  Strozzi, 
having  its  walls  covered  with  frescoes  by 
Andrea  Orcaarna  and  his  brother  Bernardo. 


cades.  From  the  larger  opens  the  Span- 
ish Chapel,  so-called,  a  square  vaulted 
room  built  in  lo.JO  and  formerly  used  as  a 
chapter-house,  the  walls  and  ceiling  cov- 
ered with  remarkable  frescoes  by  Taddeo 
Gaddi  and  Simoue  Memmi.  Of  the  exte- 
rior of  the  church  the  facade  is  the  not- 
able portion.  It  is  in  two  stages,  whose 
breadth  and  lieight  answer  to  those  of  the 


Fig,  78, — Florence,  Sta,  Maria  Novella. 


The  choir  is  square  and  is  flanked  by  two 
square  chajiels  bordering  the  transept  on 
each  side,  all  decorated  with  frescoes  by 
(ihirhindajo,  Lippi,  Bronzino,  and  other 
masters.  The  choir  has  a  triple  window 
filled  with  good  stained  glass,  dating  from 
1491.  and  some  carved  stalls  by  Baccio 
d'Agnolo.  On  the  north  side  of  the 
church  aie  two  cloisters,  the  larger  of 
which  had  on  one  side  two  stories  of  ar- 


nave  and  aisles  below  and  the  clerestory 
above  ;  the  first  stage,  composed  of  a  row 
of  high  blind  round  arches  on  engaged 
columns,  enclosed  in  an  order  of  Corin- 
thian pilasters  and  columns  with  thin  en- 
tablature and  high  attic  ;  above  which  is 
the  second  stage,  consisting  of  a  square 
wall  faced  with  four  Coi'intliian  jDilasters 
with  entablature  and  pediment,  enclos- 
insf  a   small    rose  window.     Broad  scroll 


FLORENCE 


buttresses  at  the  base  oi  tliis  story  con- 
iiuut  it  witli  the  hiwer  stage.  The  walls 
are  of  •white  marble  divided  into  panels 
by  strips  of  black  marble.  To  the  right 
of  this  fa(;ade  the  wall  is  continued  by 
the  areadcd  wall  of  a  cloister,  with  \o\v 
pointed  blind  arches  on  square  piers,  aud 
an  ancient  tomb  under  each  arch.  On 
the  north  side  of  the  church,  toward  the 
transept,  rises  a  square  campanile,  mnch 
in  the  Lombard  style,  terminating  in  a 
four-gabled  pyramidal  spire.  The  fa9ade 
is  ascribed  to  Alberti,  who  was  employed 
to  remodel  it  in  1448.  The  niches  in 
the  lower  story  are  doubtless  older,  and 
it  is  not  clear  how  much  of  the  faQade  is 
his  design,  but  perhaps  the  central -door 
and  enclosing  Corinthian  order  is  his.  and 
probably  the  whole  upper  part,  which 
gives  the  first  example  of  the  scroll-but- 
tresses (just  mentioned)  whicli  have  found 
innumerable  imitators  among  architects  of 
the  Eenaissance.     (See  Ficj.  7S.) 

SS.  MicHELE  E  Gaetaxo  (Capclla  An- 
tinori),  a  Renaissance  cruciform  church, 
about  80  ft.  wide  and  160  ft.  long,  re- 
markable chiefly  for  certain  peculiar  feat- 
ures of  tlie  interior  design.  It  has  a  nave 
nearly  50  ft.  wide,  covered  by  a  barrel- 
vanlt  and  without  aisles,  divided  into 
three  narrow  oblong  bays  by  round  arches, 
springing  from  square  piers  faced  with 
Corinthian  pilasters  at  each  angle  carry- 
ing an  entablature.  On  each  pier,  be- 
tween the  pilasters,  is  a  shallow  square 
recess  presumably  intended  to  receive  a 
confessional,  and  above  the  entablature, 
between  the  round  arches  which  connect 
the  piers,  is  an  arched  niche  enclosing  a 
statue.  On  each  side  are  three  square 
chapels,  connected  by  vaulted  passages 
through  the  piers.  The  barrel-vault  of 
the  nave  is  pierced  by  high  pointed  lu- 
nettes, each  containing  a  round  -  arched 
window.  The  transept  ends  are  each  a 
single  rectangular  bay  with  a  barrel-vault, 
and  from  the  crossing  opens  a  square  choir 
covered    by    a    low    hemispherical     dome 


without  a  drum.     The  church  was  begnn 
in  lfl04  and  finished  in  1048. 

S.  ilixiATO  is  one  of  the  most  interest- 
ing of  Italian  churches,  not  only  from  the 
beauty  of  its  design,  but  also  as  marking 
the  period  of  transition  in  the  xi  cent, 
from  the  basilican  to  the  Romanesque 
type.  Its  plan  is  substantially  that  of  the 
basilica — a  simple  rectangle  of  about  TO  ft. 
by  150  ft.,  divided  into  a  nave  30  ft.  wide 
between  the  columns  and  two  aisles.  The 
length  is  divided  into  three  equal  parts  by 
round  arches  spanning  the  nave  and  aisles 
and  springing  from  higli  composite  col- 
umns which  are  engaged  in  grouped  piers. 
Each  jiart  lias  three  nave-arches  on  each 
side,  resting  on  lower  Corinthian  columns, 
evidently  the  spoil  of  some  older  building. 
Both  nave  and  aisles  are  covered  with 
wooden  roofs  resting  on  tie-beam  trusses 
of  low  pitch.  The  windowless  walls  of 
the  aisles  are  unbroken  by  pilasters  or 
other  architectural  features,  except  the  re- 
sponds of  the  great  nave  piers  ;  those  of 
the  clerestory  are  pierced  by  five  small 
simple  round  -  headed  windows  in  each 
bay.  Of  the  rear  bay.  the  floor,  both  in 
nave  and  aisles,  is  raised  about  11  ft., 
forming  a  choir  ending  in  a  round  cen- 
tral ajjse  with  a  hemispherical  vault.  The 
side  and  end  walls  of  the  choir  aisles  have 
simjile  round-headed  windows  ;  the  wall 
of  the  apse  has  an  arcade  of  five  round 
arches  on  Corinthian  columns,  in  the  in- 
tervals of  which  are  square  wiiulows  filled 
with  thin  translucent  slabs  of  veineil  Ser- 
ravezza  marble,  which,  when  the  sun  is 
shining  upon  them,  admit  a  soft  light  to 
the  interior.  The  choir  is  reached  from 
the  aisles  by  two  broad  staircases  of  mar- 
ble, aiul  its  front  is  closed  by  a  panelled 
fence  or  bahtstrade  about  5  ft.  high,  of 
various  marbles,  and  decorated  with  great 
richness  and  delicacy,  its  frieze  containing 
a  mosaic  of  animals  and  geometrical  fig- 
ures. At  the  right  end  of  the  balustrade 
is  a  pulpit  of  similar  character.  Beneath 
tlu'  choir,  and  (qiening  into  the  nave  by 


FLORENCE 


three  liroiid  rouiul  arches,  is  a  hii;h  eryjit. 
its  floor  ahout  4  ft.  below  tlie  nave,  roofed 
witli  four-part  vaulting  sujjported  on  six 
rows  of  columns.  This  church  is  remark- 
able not  more  for  the  simplicity  and.  ele- 
gance of  its  forms  than  for  the  richness 
and  consistency  of  its  decorations.  The 
walls  of  the  clerestory  and  apse, 
the  sjjandrels  of  the  great  trans- 
verse arches  and  of  the  interme- 
diate arches  of  the  nave  are 
ornamented  with  an  inlay  of 
miirbles  of  various  colors,  which 
is  repeated,  but  with  greater 
richness,  in  the  mosaic  pavement 
of  the  nave.  The  semi-dome  of 
the  apse  is  adorned  with  a  mo- 
saic, bearing  the  date  1297,  of  S. 
Miniato  offering  a  crown  to  the 
Saviour.  Portions  of  the  walls 
of  the  choir  retain  traces  of  an- 
cient frescoes.  'J'lie  trusses  and 
])urlins  of  the  roof  are  decorated 
with  patterns  in  color  and  in- 
scriptions. From  the  left-hand 
aisle  opens  a  small  Renaissance 
chapel  dedicated  to  St.  James, 
which  is  also  decorated  with  great 
richness  —  a  mosaic  i^avement,  ^ 
sculptures  by  Rosselino.  the  ar 
chitect  of  the  chapel,  and  in  the 
ceiling  five  admirable  medallions  by  Lnca 
della  Robbia.  At  the  right  of  the  choir  is 
the  sacristy,  a  square  apartment  in  the 
Gothic  style,  decorated  throughout  with 
wall-frescoes  by  Spinello  Aretino  represent- 
ing scenes  in  the  life  of  St.  ISenedict.  The 
exterior  is  of  brick,  perfectly  simple  and 
unadorned,  except  the  fa9ade,  which  is  of 
black  and  white  marble  and  decorated  in 
harmony  with  the  interior.  The  first  story 
is  an  arcade  of  five  round  arches,  spring- 
ing from  Corinthian  columns,  with  three 
square  doorways.  Over  this  is  a  simjile 
entablature,  on  which  rises  a  tall  order  of 
flat  pilasters,  surmounted  by  a  low  gable, 
and  flanked  by  half-gables  answering  to 
the  aisle  roofs.     The  whole  of  the  wall- 


surface  is  adorned  with  geometrical  pat- 
terns in  black  anil  white  marble,  and  the 
central  interval  of  the  second  story  con- 
tains a  large  mosaic  picture  representing 
Christ  seated  between  the  Virgin  and  S. 
Miniato.  A  square  Renaissance  camjianile 
of  simiile  design,  luiilt  in  ].")l'.i  liy  Baccio 


Fig,  79. — Florence,  S.  Miniato. 

d'Agnolo,  rises  on  the  left  side  of  the 
church.  The  first  building  on  this  site  was 
an  oratory  dedicated  to  St.  Peter,  which 
was  rejilaced  in  TT-4  by  another  church, 
said  to  have  been  endowed  by  Charlemagne 
in  memory  of  his  wife  Ilildegarde.  1'liis 
church  having  become  ruinous  through 
time  and  violence,  the  foundation  of  the 
present  building  was  laid  in  1013  by 
Bishop  Hildebrand,  who  established  in 
connection  with  it  a  Benedictine  monas- 
tery now  suppressed,  but  of  which  tlic 
buildings  adjacent  to  the  church  still  re- 
main. The  front  was  rebuilt  in  the  xiv 
century.     {See  Fig.  79.) 

S.   Spirito,  a  Renaissance  church,  de- 
signed  about   14:1:0   by  Brunelleschi,   but 


149 


FLORENCE 


begun  after  his^  dealli,  unci  finished  in 
14S1.  Its  jiliin  is  u  Latin  cross  measuring 
aliuut  :J10  ft.  in  leugtli  and  105  ft.  in 
i)rcadth.  with  nave  and  aisles  separated  by 
arcades  of  nine  mund  arches  springing 
from  bloel<s  of  entablature  over  Corinthian 
eolnmns.  A  continuous  entablature  sur- 
nu)unts  the  arcades,  above  which  is  a  high 
clerestory  with  a  single  narrow  round- 
arched  window  over  each  of  the  lower 
arches.  The  nave  has  a  flat  coffered  ceil- 
ing. The  aisles  are  divided  into  square 
bays  covered  by  flat  domical  ceilings,  and 
each  has  a  semicircular  altar-niche  in  its 
outer  wall,  with  a  single  round-arched 
window.  The  choir  and  transejjt  are 
equal  arms  of  the  cross,  each  composed  of 
two  bays  with  the  aisles  continued  round 
their  ends  ;  the  crossing  is  enclosed  by  a 
rich   balustrade    of    marble   and   bronze. 


Fig.  80. — Florence.  S.  Spirito. 

within  which  the  high  altar  stands  under 
the  dome  on  a  s(|uare  raist'd  platform  and 
covered  by  a  high  bahhuH'hino.  About  it 
are  four  high  round  arches  carrying  on 
pendeiitivcs  a  hcmisidierical   dome   with- 


out a  drum,  pierced  by  round  windows  or 
0(Mli,  and  surmounted  by  a  round  lan- 
tern. A  fine  octagonal  sacristy  by  Cro- 
naca  is  joined  to  the  west  aisle  by  a  rich- 
ly decorated  and  vaulted  vestibule  by  San 
Gallo.  Adjacent  to  the  church  on  the 
west  are  two  arcaded  cloisters,  jiaintcd 
with  frescoes,  and  a  slender  sfpnire  cam- 
panile by  Baccio  d'Agnolo.  The  front  is 
covered  with  plaster  and  painted.  {See 
Fig.  SO.) 

Sta.  Teresa,  a  curious  Kenaissance 
chapel  built  in  1C28  from  the  designs  of 
Giovanni  Coccapani,  for  a  convent  of 
nuns,  and  remarkable  chiefly  for  its  unu- 
sual plan,  a  hexagon  about  83  ft.  in  inter- 
nal diameter,  with  an  entrance  doorway 
in  one  side.  A  shallow  transverse  vault- 
ed choir  with  semicircular  ends  opens 
from  the  opposite  side,  and  sunk  in  the 
other  four  sides  are  rectangular  altar- 
niches.  The  hexagon  is  covered  by  a 
pointed  hexagonal  dome  on  a  di'um,  with 
a  hexagonal  window  in  each  face,  and 
crowned  by  a  lantern. 

Sta.  Tkinit.I,  a  xiii  cent.  Gothic 
chureli  built,  it  is  believed,  from  the 
designs  of  Niccolo  Pisano.  but  greatly 
changed  in  the  xvi  century.  It  had  nave 
and  aisles  of  five  bays,  separated  by  tall 
s(|iiarc  piers  with  capitals  of  unvaried  de- 
sign, from  which  spring  pointed  arches. 
Above  the  arcade  is  a  high  clerestory  with 
pointed  windows.  The  nave  and  aisles 
are  groined,  the  former  in  oblong  bays, 
the  latter  in  square,  and  the  aisles  are 
flanked  by  rectangular  cha]iels  made  ap- 
jiaivutly  by  dividing  up  tlie  original  outer 
aisles.  The  transei^t  arms  have  each  a 
single  groined  bay.  The  square  choir  was 
built  in  the  xv  cent.,  with  its  two  flank- 
ing chajjcls  on  either  side  opening  from 
the  tran.sept.  The  fa9ado  was  built  about 
l.")!)3  from  the  designs  of  Buontalenti  in 
tlie  modern  Italian  style,  with  three  en- 
trant'c  doorways,  coupled  pilasters,  and 
niches  containing  statues.  The  campa- 
nile  dates   from    1395.     Attached  to  the 


FOGGIA 


clmreli   is  ;i  eonvent.  with  a  line  oloistcr 
surroimdod  by  vaulted  arcades  on  columns. 

Uffizi.     See  Palazzo  deijU  U^zi. 
FOGGIA,  Italy. 

Sta.  Maria,  an  ancient  Komanesqne 
cruciform  cliurch  of  the  xi  cent.,  meas- 
uring about  1I5G  ft.  long  by  80  ft.  across 
the  transept,  but  much  changed  by  re- 
peated restorations.  Its  most  remarkable 
feature  is  the  crypt  or  lower  cliurch  ex- 
tending under  the  whole  church,  divided 
into  two  i^arts  by  a  solid  wall  across  the  end 
of  the  nave,  which  is  jjierced  by  three  door- 
ways. The  only  entrances  are  in  the  two 
ends  of  the  transept.  The  whole  is  cov- 
ered with  groined  vaulting  on  piers  with  a 
cruciform  section,  except  the  square  at  the 
crossing,  where  four  small  columns  take 
the  ijlace  of  the  piers.  In  each  transejit 
the  east  wall  is  in  the  form  of  a  round 
apse,  which,  however,  does  not  appear 
externally.  The  upper  church,  of  corre- 
sponding plan,  was  much  damaged  by  the 
earthquake  of  17131.  and  was  rebuilt  in  the 
style  of  that  period.  Here,  as  in  the  crypt, 
the  transept  and  choir  are  each  in  three 
aisles,  the  former  having  flat  round  apses 
in  its  east  wall.  The  rectangular  choir 
probably  replaced  an  eai-lier  apse.  The 
square  fa9ade  is  in  two  stages,  of  which  the 
lower  is  of  the  original  xi  cent,  church, 
the  ujiper  belonging  to  the  Xorman  pe- 
riod, late  in  the  xii  century.  The  former 
has  a  blind  arcade  of  five  equal  rouud 
arches,  on  flat  pilasters,  the  middle  arch 
enclosing  a  modern  square  doorway  with 
plain  pointed  bearing-arch.  Of  the  other 
arches  two  have  each  a  two-light  window 
with  bearing-arch,  and  two  others  a  circle 
in  tlie  arch-head,  with  mosaic.  The  two 
stages  are  separated  by  a  decorated  hori- 
zontal cornice,  above  which,  in  the  centre, 
is  a  large  wheel-window  under  a  pointed 
arch  and  flanked  by  coupled  columns,  and 
at  each  side  a  blind  arch  like  those  below. 
FOLIGNO,  Italy. 

The  Cathedral,  dedicated  to  S.  Feli- 
ciauo,    is   a   rebuilding   of   the   mediajval 


cJiuri-h,  (if  which  small  portions  still  ex- 
ist, notably  the  Romanes(|ue  fayade  of  the 
south  transept,  whicli  appears  to  date 
from  1201.  This  has  a  characteristic 
porch  supported  by  lions,  over  it  a  blind 
arcade  and  a  wheel-window  under  a  hori- 
zontal cornice.  The  rebuilding  was  under- 
taken about  1512  ;  how  much  it  was  modi- 
fied by  alterations  in  the  xviii  cent,  is 
not  clear.  The  grandiose  plan  is  a  Latin 
cross,  measuring  about  230  ft.  in  length 
and  about  170  ft.  in  breadth  across  the 
transept.  The  whole  interior  is  encircled 
by  a  great  order  of  Ionic  jjilasters  40  ft. 
high,  from  whose  entablature  springs  the 
vaulting.  The  nave,  about  45  ft.  wide, 
without  aisles,  is  divided  by  a  broatl  round 
arch  S23ringing  from  coupled  pilasters  into 
two  square  bays  covered  with  four-jjart 
vaulting.  The  transejst  ends  form  each  a 
similar  bay  ;  the  crossing  is  covered  by  a 
high  round  dome,  raised  on  a  drum  sur- 
rounded internally  by  a  low  order  of 
coupled  Corinthian  jiilasters.  The  choir 
is  Ti  single  square  bay  covered  by  a  low 
dome  and  ending  in  an  apse,  round  with- 
in and  octagonal  without,  whose  outside 
dates  from  the  middle  of  the  xv  century. 
The  exterior  is  almost  entirely  concealed 
by  surrounding  buildings — the  unfinished 
west  front  and  the  front  of  the  south  tran- 
sept above  mentioned  being  the  only  por- 
tions standing  free. 
FONDI,  Italy. 

Sta.  Maria,  the  former  cathedral,  is  a 
cruciform  church  of  the  second  half  of 
the  XII  cent.,  with  a  flat  Eenaissance  fa- 
yade  carrying  a  low  pediment  between 
two  horizontal  cornices.  There  are  three 
square  doorways,  of  which  the  middle  one 
is  flanked  by  columns,  and  covered  by  a 
semicircular  panel  charged  with  figure  re- 
liefs. The  old  Kormau  tower  still  stands 
on  the  north  side  of  the  church,  in  three 
stages,  the  lowest  pierced  by  a  high 
pointed  arch  on  two  sides  through  which 
a  street  is  carried,  the  upper  stories  with 
two-light  windows,  and  the  whole  crowned 


FUSSA.NOVA 


by  !i  pliiin,  low  oetiigonal  lantern  with  a 
sharp  roof.  Tlie  interior  has  pointed 
arches  springing  from  grouped  piers  and 
wooden  ceilings,  except  the  bay  at  the 
crossing,  which  lias  a  groined  vault  with 
])()intc(l  arclicd  ribs,  and  tlic  three  eastern 
apses. 
F08SAX0VA,  Italy. 

The  Cistercian  Ooxvent  is  a  very  old 
monastery,  reputed  to  have  been  founded 


Fig,  81. — Fossanova,  Abbey  Church. 

in  St.  Benedict's  time,  but  tran.sferred  by 
Innocent  II.  in  the  xii  cent,  to  St.  Ber- 
nard, and  by  him  rcpeopled  witli  French 
monks  from  Clairvaux.  Rebuilt  or  re- 
stored in  11  :!•"■>.  it  was  soon  after  burned 
and  again  rel)uiU.  ;uid  consecrated  in 
\->0S.  The  buildings,  oiu'e  inclosed  by  a 
high  wall  whose  great  entrance-lodge  still 
remains,  are  perhaps  the  best  representa- 
tive that  is  left  of  an  Italian  mediaeval 
monastery.  The  church,  evidently  the 
work  of  French  builders,  and  mostly  re- 
built in  tlio  pointed  style  after  the  fire,  is 
of  almost  purely  French  Gothic  type, 
cruciform,  with  nave  and  aisles  of  seven 
bays,  a  square-ended  choir  of  two  bays  in 
the  Cistercian  fashion,  a  ti-ansept  flanked 
by  four  eastern  chapels.  It  has  a  single 
square  tower,  over  the  crossing,  and  a  sin- 


gle west  door — both  also  peculiarities  of 
the  Cistercian   churches.     The  main  ar- 
cades and  the  vaults  are  pointed,  the  piers 
cruciform,  with  engaged  shafts,  and  the 
vaulting-shafts  start  from  corbels  half-way 
nil  the  lower  piers.     There  is  no  triforiuni, 
and  the  windows  of  aisles  and  clerest(n-y 
arc  mund-arched.     The  single  door  of  the 
front  has  richly  moulded  jambs  and  trace- 
ried  tympanum.     Over  it  is  a  handsome 
wheel  -  window.     Evidently  a 
triple   porch   or   narthex  was 
(juce  carried  across  the  front, 
iir  at  least  begun,  but  it  has 
disappeared.      Aisles   and  ga- 
bles are   low,  but   mouldings 
and  capitals  and  other  details 
both  outside  and  in  are  char- 
acteristically French.     The 
central  tower  is  oc'tagonal,  in 
two  stories  with   twin   i-ound- 
arched  windows  in  each  face, 
and  a  pyramidal  roof  crowned 
liv  a  lantern.    Most  of  the  con- 
ventual   buildings    remain    in 
good   jireservation.      In   line 
with  the  eastern  wing  of  the 
transept  is  the  chapter-bouse, 
rectangular,    in    six    groined 
bays,  the  vaults  carried  on  two  clustered 
piers   with  French   crocket -capitals.     In 
the  southern  angle  of  the  church  is  the 
cloistt'r,  arcaded  in  groujis  of  arches,  three 
and  fnni-,  round-arched  on  three  sides  and 
j)ointed  on   the  south,  with  coupled  col- 
umns and  richly  carved  capitals  of  great 
variety.    Against  the  south  walk  is  a  grace- 
ful well-house,  square,  pyranudal  roofed, 
and  open   on   all   sides   through   coupled 
round  arches.     (.SVy'  Fir/.  SI.) 
FRASCATI  (anc.  Tusculum),  Italy. 

Ampiiitiieatke,  on  the  ancient  Via 
Tusculana,  two  miles  from  Frascati,  in  a 
depression  between  two  hills.  It  is  ellipti- 
cal, the  greater  axis,  2'M)  ft.,  the  lesser,  170 
ft.;  the  axes  of  the  arena  arc  l.)7  ft.  and 
9.")  ft.  The  interior  is  in  ruins,  and  only 
the   substructions  and  fragments  of  wall 


15i 


GABALA 


of  reticulated  work  remain.  Excavations 
have  disclosed  canals  through  the  arena, 
similar  to  those  in  the  Colosseum,  and 
serving  to  convert  the  amphitheatre  into 
a  naumachy.  It  is  presumed  to  be  of 
somewhat  late  date. 

Tlie  ARX  or  citadel  retains  many  ancient 
remains,  especially  parts  of  tlie  wall  of 
massive  squared  blocks,  like  the  earliest 
walls  of  Rome.  On  the  slope  of  the  hill, 
near  the  theatre,  is  a  grand  stretch  of  the 
old  city-wall.  Tlie  sides  of  the  hill  are 
full  of  chambers  or  artificial  grottoes. 

Roman  Theatre,  small,  but  remaining 
comjiaratively  jjerfect.  The  cavea  lias 
nine  tiers  of  seats  almost  uninjured,  and  is 
divided  into  four  cunei  by  radial  stairways. 
The  stage-structure  remains  in  great  part, 
but  awaits  excavation.  The  theatre  faces 
the  west  toward  a  magnificent  outlook, 
with  Rome  and  the  sea  in  the  disttmee. 
At  the  back  of  the  theatre  there  are  ruins 
of  a  smaller  one,  jjerhaps  an  odeum  or  lect- 
ure-room, the  so-called  Children's  Theatre. 

Vii.LA  Aldobkaxdixi,  one  of  the  most 
extensive  and  elaborately  designed  of  all 
the  great  jileasure-houses  of  the  Roman 
suburbs.  Like  most  of  the  suburban  vil- 
las, its  attractiveness  lies  much  more  in  its 
grounds  than  in  its  architecture.  These 
are  entered  from  the  great  square  of  the 
town.  From  the  lower  level  of  the 
grounds  a  stately  double  curving  stair- 
case leads  to  a  terrace  with  semicircular 
ends,  some  300  ft.  long  and  70  ft.  broad, 
on  one  side  of  which  rises  the  retaining 
wall  of  the  upper  terrace,  about  -1.50  ft. 
long,  on  which  the  villa  stands.  Of  this 
the  fa9ade  has  a  centre  about  1.50  ft.  long, 
in  four  stages,  with  wings  of  one  story 
somewhat  receding.  The  design,  by  Gia- 
como  della  Porta,  is  quite  without  merit. 
Behind  the  palace  is  a  higher  terrace 
on  a  level  with  the  principal  story,  from 
whicli  a  central  jjortico  gives  entrance  to 
the  great  apartments.  This  terrace  is  bor- 
dered by  an  imposing  loggia  with  a  semi- 
circular centre,  with  broad   niches  form- 


ing a  background  for  fountains,  and  be- 
hind, following  the  abrupt  slojje  of  the 
wooded  hill,  is  a  most  elaborate  system  of 
cascades.  These,  which  make  witli  the 
other  water-works  of  the  estate  its  chief 
features,  were  designed  by  Giovanni  Fon- 
tana  and  Orazio  Olivieri.  The  villa  was 
built  about  1.51)8  under  Clement  VIII.,  by 
liis  nepliew.  Cardinal  Pietro  Aldobran- 
dini. 

Villa  Moxte  Duagoxe,  an  enormous 
country-house  built  about  1507  by  Martino 
Lunghi  for  the  Cardinal  Altemjis,  nepliew 
of  Pius  IV.,  enlarged  by  Gregory  XIII., 
and  completed  and  embellished  for  Paul 
V.  and  his  nephew.  Cardinal  Scipio  Bor- 
ghese,  by  Flaminio  Ponzio  and  Giovanni 
\'asanzio.  It  has  been  called  the  largest 
and  most  magnificent  of  all  the  suburban 
houses  of  Rome.  The  main  palace  meas- 
ures about  3"20  ft.  in  length  by  108  ft.  in 
breadth,  and  is  of  two  stories,  rather 
clumsy  in  design,  with  a  great  square 
court  behind,  closed  on  one  side  by  a 
long  gallery  decorated  with  ]iaintings. 
and  on  a  third  side  by  a  long  suite  of 
ajjartmeuts  in  two  stories.  Behind  this 
again  is  a  semicircular  terrace.  At  the 
fourth  side  of  the  great  court,  but  on  a 
lower  level,  is  a  large  rectangular  garden 
enclosed  by  walls,  with  an  arched  entrance 
loggia  in  front,  and  at  the  back  an  ele- 
vated terrace  apiiroached  by  a  double 
flight  of  steps,  having  in  the  centre  a 
semicircular  basin  and  fountain,  and  en- 
closed by  a  semicircular  wall  decorated 
with  an  order  of  Ionic  jiilasters  with  great 
niches  in  the  intervals,  the  whole  disposi- 
tion of  great  elegance  and  on  a  scale  of 
unusual  grandeur.  The  Vilhi  was  long 
abandoned,  but  came  finally  into  the 
hands  of  the  Jesuits,  wlio  established  a 
school  there. 
GABALA.  See  Jebelelt. 
GADARA  (Mkes),  Per»a,  Palestine. 

CoLONXADED  STREET,  as  at  Palmyra, 
Gerasa,  etc.  The  shafts  are  monolithic ; 
many  of  the  bases  remain  in  place.     The 


PxAETA 


street  is  paved  witli  slabs  which  bear  the 
marks  of  chariot-wheels.  On  the  west 
side  of  the  city,  on  an  elevation,  are  con- 
siderable remains  of  a  stoa  or  portico  in 
good  masonry  ;  many  of  the  column  bases 
are  still  in  position.  Near  by  there  is  a 
range  over  700  ft.  long  of  small  parallel 
chambers,  and  beyond,  the  ruins  of  a  fine 
columnar  structure  in  basalt. 

Necropolis,  on  the  slopes  to  the  east 
of  the  site.  About  two  hundred  fine 
sarcophagi  of  basalt  remain,  besides  many 
that  are  broken,  sculjttured  with  garlands 
and  busts  of  Apollo  and  other  divinities. 
There  are  also  many  rock-tombs.  Some 
of  the  massive  doors  still  swing  on  their 
original  stone  pivots,  and  some  of  the 
chambers  contain  sarcophagi. 

Large  Theatre,  east  of  the  city,  not 
far  from  the  necropolis.  It  is  entirely 
built  up  of  basalt,  not  sujiported  against 
a  side  hill,  and  is  in  good  preservation  and 
very  handsome.  There  is  in  the  audito- 
rium a  precinction  or  horizontal  gallery, 
arched  at  the  back,  and  there  are  vaulted 
substructions.  The  stage  and  orchestra 
are  buried  in  rnbbish. 

Small  TuEATRE.  The  upper  parts  are 
ruined.  It  rested  in  part  upon  a  side 
hill,  in  part  on  vaulted  galleries ;  the  re- 
mains are  in  good  masonry  of  large 
blocks. 
GAETA  (anc.  Caeta),  Italy. 

The  Cathedral,  a  cruciform  church 
consecrated  by  Paschal  II.,  in  1100,  was 
rebuilt  in  1792,  and  has  no  interesting 
feature  remaining  .save  its  square  tower 
attached  to  the  wall  of  the  transept.  It 
is  in  four  stages — the  first  of  stone  with  a 
higli  pointed  arch  with  classic  columns 
under  the  imposts,  the  three  others  witli 
two-light  routid-arched  windows.  The 
stories  are  ca^jped  with  cornices,  of  whicli 
the  third  and  fourth  are  enriched  willi 
friezes  of  interlacing  arches.  The  tower 
is  crowned  by  a  high  octagonal  lantern 
with  a  similar  frieze  and  four  queer  angle 
turrets. 


S.  Giuseppe,  a  small  rectangular  basil- 
ica, whose  origin  goes  back  to  the  Lom- 
bard period,  or  the  secoiul  half  of  tlie  ix 
cent.,  but  largely  rebuilt  about  lOJ.j  under 
the  Normans.  Its  nave  has  five  arclies 
on  each  side,  supported  on  columns  with 
archaic  capitals,  and  ends  in  a  round  apse. 
Above  the  arcade  is  a  high  clerestory  with 
a  small  window  over  each  arch  ;  at  the 
middle  bay  the  transept  crosses,  the  nave 
and  transejit  being  tunnel-vaulted.  The 
arches  are  round,  except  two  at  the 
crossing  which  are  broader  than  the  rest 
and  pointed,  and  are  carried  up  through 
the  clerestory.  These  two,  with  two  trans- 
verse arches  across  the  nave,  carry  a  hemi- 
spherical dome  on  squinches.  The  aisle 
bays  are  groined.  The  vaults  of  the 
nave  and  transept  appear  on  the  exterior, 
being  uncovered  by  any  wooden  roof. 
The  exterior  has  been  modernized. 

Torre  d'  Orlando,  the  ancient  tomb, 
as  shown  by  an  inscription,  of  L.  iluna- 
tius  Planctxs,  the  founder  of  Lyons.  It  is 
a  massive  cylindrical  tower,  half  a  mile 
from  the  town  on  the  summit  of  the 
promontory,  and  forms  a  very  conspicu- 
ous object  in  the  landscape.  There  are 
also  at  Gaeta  remains  of  an  amphitheatre, 
theatre  and  temple,  and  of  a  villa  of 
Hadrian. 
GALLIANO,  near  Milan,  Italy. 

The  Baptistery  is  of  singular  design 
and  irregular  construction.  It  is  of  two 
stories,  of  which  the  lower  is  in  plan  not 
unlike  that  of  the  baptistery  of  Biella  {q. 
V.)  ;  a  small  square  with  a  semicircular 
niche  or  ajise  opening  from  each  side,  cov- 
ered by  a  semi-dome.  The  arches  which 
form  the  openings  of  these  apses  sjjring 
fnini  rude  octagonal  piers  detached  from 
the  walls,  but  connected  with  them  by  nar- 
row arches.  A  small  entrance  vestibule  oc- 
cupies one  apse,  from  which  two  winding 
stairs  in  the  thickness  of  the  wall  lead  to 
the  upper  gallery.  The  opposite  one  is 
a  tribune  with  raised  floor  and  an  altar. 
The   ancient   circular    font,    cut   from   a 


GENOA 


siiifjle  block  of  granite,  stands  in  the 
iniiUlle  of  the  floor.  Ujion  tlie  four  great 
arches  the  square  wall  of  tlie  central  por- 
tion of  the  building  is  carried  up,  with 
two  round-arched  windows  in  each  face 
opening  under  irregular  vaults  over  the 
four  apses  below.  Over  the  eastern  apse 
is  a  eliapel  like  the  tribune  below  it,  and 
with  an  altar.  Above  the  vaulted  sjjaces 
the  plan  of  the  central  wall  is  changed  to 
an  octagon  by  squinches  in  the  angles, 
supporting  an  octagonal  dome  with  a  low 
conical  roof,  under  wliicli  are  four  plain, 
round-headed,  two-light  windows.  The 
roof  covering  is  everywhere  of  slate  laid 
directly  on  the  masoni-y  of  the  vaults.  The 
baptistery  is  considerably  earlier  than  the 
cathedral,  and  is  thouglit  to  date  from 
about  850. 

S.  ViCEXTE  is  an  ancient  and  simple 
basilica,  with  nave  and  aisles  covered  with 
wooden  roofs,  and  ending  each  in  a  round 
apse,  of  which  the  central  one  has  a  high 
raised  floor  with  a  vaulted  crypt  beneath. 
An  ancient  puljiit  stands  in  front  of  the 
tribune,  and  the  remains  of  the  original 
frescoes  are  still  to  be  traced  on  the  walls 
of  tlie  tribune  and  crypt.  An  inscription 
seems  to  indicate  tliat  the  cluirch  was 
built  in  the  first  years  of  the  xi  century. 
GENOA  (Genova,  Genes),  Italy. 

Alberro  DEI  PovERi.  This  great 
almshouse,  one  of  tlie  largest  in  Eu- 
rope, founded  in  10.54  by  Emanuele 
Brignole,  was  built  by  Antonio  C'onradi 
and  Girolamo  Gandolfo.  It  is  a  great 
quadrangle  some  500  ft.  square,  divided 
by  cross-wings  into  four  courts.  In  tlie 
middle  is  a  church  115  ft.  long,  from 
which  the  cross-wings  radiate.  This  has 
a  nave  and  i-ound  choir  decorated  with  an 
order  of  Corinthian  pilasters,  over  the 
choir  a  dome  on  a  higli  drum,  and  over 
the  nave  a  barrel-vault.  The  plain  three- 
storied  exterior  is  broken  at  the  corners 
by  pavilions,  and  the  front  Ijy  a  projecting 
centre  terraced  up  from  the  valley  before 
it  with  high  steps. 


The  Catiiedr.\l,  dedicated  to  S.  Lo- 
renzo, is  a  Gotliic  church  dating  from  the 
XII  cent.,  built  on  the  foundation  of  an 
earlier  church,  of  wliicli  some  portions 
still  remain,  restored  some  two  liundred 
years  later,  and  subjected  to  substantial 
changes  in  the  xvi  century.  Its  three 
western  doorways  open  into  an  entrance 
porch  in  three  bays  covered  by  groined 
vaulting,  over  wliich  is  a  gallery  oj^ening 
into  the  church,  built  for  the  use  of  the 
Doge.  The  nave  and  aisles  (tlie  latter  of 
unusual  breadtli  and  height)  are  separated 
by  large  columns  of  veined  marble  with 
Corinthian  capitals,  carrying  pointed 
arches,  above  which,  on  a  continuous 
band  bearing  an  inscription,  is  a  tine 
upper  arcade  of  coupled  round  arclies 
divided  by  short  columns,  tlie  bays  sep- 
arated by  square  piers,  all  the  masonry, 
including  tlie  columns  and  voussoirs,  Ijeing 
banded  in  white  marble  and  dark-green 
serpentine.  This  arcade  probably  corre- 
sponded to  an  upf)er  story  in  the  aisles 
wliose  floor  was  removed.  Above  it  is  a 
bare  clerestory,  with  plain  square  win- 
dows. The  nave  is  covered  with  a  barrel- 
vault.  The  aisles,  carried  up  to  the  base 
of  tlie  clerestory  wall,  are  covered  by 
groined  vaulting.  The  ci-ossing  is  cov- 
ered by  an  octagonal  lantern,  built  in 
1567 ;  the  transept  arms  are  groined  and 
do  not  project  beyond  the  aisle  walls. 
The  clioir,  which  is  modern,  has  a  single 
narrow  bay,  and  an  apse,  flanked  by  a 
smaller  apse  on  each  side.  A  continuous 
line  of  chapels  opens  from  the  south  aisle, 
and  an  irregular  series  from  the  north 
aisle,  among  which  the  most  conspicuous 
is  that  of  St.  John  the  Baptist,  octagonal 
in  plan,  originally  contemporary  with  the 
cliurch,  but  rebuilt  in  the  xiv  cent,  and 
again  in  the  xvi,  and  separated  from  the 
church  by  a  rich  cinque-cento  screen.  The 
exterior  is  of  white  and  dark  marble  in  al- 
ternate courses.  The  fa9ade,  built  at  in- 
tervals during  the  whole  xii  cent.,  had 
it  been  completed,  with  its  two  flanking 


155 


GENOA 


towers  and  its  central  gable  with  a  great  cribed  by  some  to  thr   xviii.     One  side 

wheel  window,  must  have  been  one  of  the  and  one  end  consist  ot  an  open  arcade  on 

finest   ill    Italv.     Tlie  lower  jiortion  con-  coujikMl  Doric  columns  carrying  blocks  of 

sists  of  three  magnilicent  portals,  deeply  entalilaturc  from  which  the  arches  spring, 


splayed,  the  jambs  and  arch-heads  deco- 
rated with  shafts  of  various  forms,  Avith 
sculpture  and  mai'ble  inlay,  with  more  of 
the  character  of  the  northern  Gothic  than 
is  often  found  in  Italy.  Over  the  side 
(li](ji-\vays  is  a  triple  arcade  of  pointed 
arches  on  coupled  columns,  each  arch 
containing  a  two-light  window.  But  in 
the  remainder  of  the  front,  with  the  ex- 
ception of  the  central  gable  and  its  wheel 
window,  the  Gothic  character  is  lost ;  tlie 
northern  tower  is  untinished  ;  the  south- 
ern, completed  in  the  xvi  cent.,  antl 
rather  Kenaissance  than  Gothic,  ends  in  a 
belfry  stage  with  two  mullioned  windows 
in   each   face,  crowned   by   an    octagonal 


and  surmounted  by  an  attic.  The  same 
architecture  is  cai'ried  around  the  building, 
the  arches  on  tbe  other  sides  being  walled 
in.  The  interior,  undivided  by  piers  or 
columns,  has  a  high  coved  ceiling  tinder  a 
wooden  roof  without  tie-beams. 

OsPETJALi;  Di  Pammatoxe,  the  great 
Hospital  for  Lunirables,  is  one  of  the 
largest  and  one  of  the  finest  in  Italy.  It 
was  originally  a  jjrivate  foundation  by 
Bartolommeo  Bosco,  a  lawyer  of  (icnoa, 
who  built  from  the  designs  of  Orsolino  a 
l)alace  covering  an  area  about  18'^  ft.  by 
330  ft.,  with  a  spacious  vaulted  entrance- 
hall  leading  by  a  broad  straight  staircase 
in  the  centre  to  a  grand  court  about  05 


lantern.  The  church  has  a  noble  early  ft.  by  l>'(t  ft.,  surrounded  by  a  simple  ar- 
side  doorway  of  Lombard  character,  with  cade  on  Doric  columns  of  white  marble, 
extremely  interesting  sculpture.  {See  F it] a.  beyond  which  is  a  stately  double  staircase. 
82,  83.)  'i'he  architecture  is  simple,  but  the  vesti- 

LoGGiA   I)h'  Baxcui  (The   Kxcluuige),     bule.  court,  and  staircases  have  the  charac- 
a  rectangular  building  of  a  single  story,     ter  and  scale  of  those  of  the  great  private 

lialaces  of  Genoa.  Perhaps  the 
larliest  attempt  at  hospital  ven- 
tilation is  to  be  seen  in  this  build- 
ing, fresh  air  being  admitted 
from  openings  in  the  outside 
walls,  and  distributed  to  the 
wards  below,  through  registers 
which  can  be  o])ened  or  closed 
at  will. 

Palazzo    Hai.hi    (called    al- 
so the   Balbi -Senarega).  an    in- 
teresting   ]ialace   built   early    in 
the  x\ii   cent,  liy  Bartolommeo 
Uiauco.     Its  internal  disj)osition 
is    extremely  effective  :    a  coin- 
]iaratively    simple    square    eii- 
ti'aiu-c-hall  leading  to  a   \aulleil 
staircase  hall,  and   beyond    to  a 
noble   sipnire   court  surrounded 
by  tliree  stories  of  vaulted  arcades  on  Doric 
columns.     Beyoiul  this  again  is  a  formal 
garden    flanked   on  one  side  bv  an  arcade 


Fig,  82— Genoa,  Cathedral,  Porches. 

measuring  about  (III  ft.  by  lOj  ft.,  re- 
puted to  have  been  the  work  of  Alessi  in 
the  last  (piarter  of  the  xvi  cent.,  but  as- 


150 


GETs^OA 

supporting  two  stories  of  biiiklintr.  and  usual  olegance.  Its  facade  is  in  three 
terminating  in  a  circular  exedra  enclosing  divisions,  of  which  the  middle  one  is 
a   niagniticent  fountain   with   niches  and     slightly    recessed,    and    in    two    ])rincipal 


Fig.  83. — Genoa,  Cathedral,  Interior. 


statues  behind  an  arcade.  The  palace  has 
a  tine  suite  of  state  apartments  richly 
decorated  with  paintings  by  Genoese  ar- 
tists, and  containing  one  of  the  best  col- 
lections of  pictures  in  Genoa,  including 
examples  of  Titian,  Vandyclc,  Kubens. 
Tintoretto,  Caracci,  Michael  Angelo  and 
other  masters. 

Palazzo  BAi.Bi-DrRAzzo.  See  P(d. 
Du  razzn. 

Palazzo  Bianco.     See  Pal.  Gritnaldi. 

The  Palazzo  Bkignole,  one  of  the 
smaller  of  those  attributed  to  Alessi,  is 
distinguished   bv    some   features    of    uu- 


stories  with  a  mezzanine  between,  and  a 
projecting  cornice  crowned  by  a  balus- 
trade. In  the  centre  division  a  group  of 
three  openings,  the  middle  one  arched, 
the  others  square,  gives  access  to  a  square 
vestibule,  from  which  a  short  stair,  as- 
cending through  a  triple -arched  screen, 
leads  to  an  oblong  court,  divided  by  two 
rows  of  Doric  columns  into  square  vaulted 
bays.  The  side  walls  are  decorated  with 
niches  enclosing  statues,  and  in  one  oj)ens 
a  fine  staircase,  of  which  the  landing  in 
the  upper  story  is  extremely  effective. 
The  Palazzo  Bkigxole-Sale,  to  which 


157 


GENOA 


Fig.  34— Ger.oa    Pal.  Doi:a-Tu 


:i  central  doorway  ami  three  windows  on 
each  side,  with  pedimented  caps,  the  sec- 
ond and  third  faced  with  Ionic  and  Co- 
rinthian pilasters  respectively,  with  win- 
dows in  tlie  intervals  similar  to  those 
Ijclow.  A  large  cornice  terminates  the 
front,  with  consoles  and  square  windows 
between.  The  palace  was  built  by  Galeaz- 
7.0  Alessi,  late  in  the  xvi  cent,  and  after- 
ward considerably  altered,  especially  with- 
in, by  Castello. 

I'alazzo  DoKiA-Triisi,  a  large  and 
imposing  palace,  built  after  l.")5()  from  the 
designs  of  Rocco  Lnzago,  and  now  occu- 
pied Ity  the  offices  of  tlie  municipality  of 
Genoa.  It  has  a  spacious  but  rather 
simple  entrance-hall,  and  a  broad  stair 
ascending  to  a  grand  court  with  two 
stories  of  surrounding  arcades  and  a  great 
staircase  beyond.  The  facade  is  in  two 
stages,  each  comprising  a  i^rincipal  and  a 
mezzanine  story  within  an  order  of  pilas- 
ters. In  the  lower  stage  the  pilasters  are 
rustic  and  the  window-facinss  ratlicr  ro- 


the  designation  rcvwo  is  given  because  its 
fa9ade  was  painted  red,  was  built  in  the 
XVII  cent.,  and  has  a  boldly  treated  central 
front  of  about  93  ft.  between  two  lower 
wings,  which  are  probably  additions,  and 
a  depth  of  117  ft.  It  has  a  large  and 
rather  simple  entrance-hall,  with  a  plain 
staircase  opening  from  the  side.  Beyond 
is  a  fine  square  court,  with  two  stories  of 
arcades  supporting  a  third  story  of  flat 
wall.  The  palace  contains  what  is  con- 
sidered to  be  the  finest  collection  of  pict- 
ures in  Genoa,  and  was  witli  all  its  treas- 
ures given  to  tlie  city  in  187-1  by  the 
Duchess  of  Galliera,  the  descendant  ol 
the  Brignole  family. 

Palazzo  Careoa,  one  of  the  smaller 
palaces  of  (ienoa,  covering  an  area  about 
88  ft.  by  120  ft,,  but  interesting  from  its 
rather  unusual  plan,  its  fine  facade,  and 
the  rich  decoration  of  its  entrance-hall 
and  the  gallery  over  it.  Its  front  is  in 
three  stages,  the  lowest  a  plain  wall  with 


ta^-'.' 


GENOA 


coco.  A  Doric  cousole-corniccione  finishes 
the  fa9ade,  wliich  is  extended  on  cacli 
flank  by  an  open  arcade  of  the  height  of 
tlie  lower  stage,  raised  on  a  terrace  whicli 
is  continued  still  farther,  its  whole  length 
being  about  350  ft.  The  arcades  of  tlie 
wings  mask  gardens  at  the  level  of  the 
great  court.     {See  Figs.  SJf.,  85.) 

The  Palazzo  Ducale  (Ducal  Pal- 
ace), still  retains  its  original  designation 
as  the  residence  of  the  Doges  of  Genoa  in 
the  XVI  cent.,  though  its  uses  are  now 
rather  those  of  a  city  hall  and  a  court 
house.  The  buildings  are  very  extensive, 
covering  an  area  measuring  roughly  30o 
ft.  by  350  ft.,  enclosing  a  great  court 
about  150  ft.  square,  at  the  base  of  which 
is  the  entrance  to  the  princijial  apart- 
ments. A  central  door  gives  access  to  a 
fine  enti'ance  hall  50  ft.  broad  and  130  ft. 
long,  with  a  vaulted  ceiling,  su]>ported  on 
eighty  columns  of  white  marble.  From 
the  middle  of  this  splendid  hall  rise  the 
stairs  to  the  second  story,  and  at  the  ends 
are  open  courts  enclosed  by  two  ranges  of 
vaulted  arcades.  Over  the  entrance  hall 
is  a  hall  of  the  same  size  and  of  even 
greater  magnificence,  the  walls  decorated 
with  an  order  of  Corinthian  columns  and 
pilasters  of  brocatello  with  entablatures 
and  pediments  of  yellow  marble,  with  a 
balcony  above  and  a  domed  and  richly 
panelled  ceiling,  the  height  being  some- 
thing over  GO  ft.  The  fayade  of  this  por- 
tion of  the  building,  making  one  side  of 
the  great  court,  is  about  135  ft.  long, 
showing  a  high  basement  story  with  mez- 
zanine, included  in  an  engaged  order  of 
coupled  Doric  columns  with  rustic  wall 
and  plain  square  windows,  and  an  arched 
doorway  in  the  middle  interval.  The  jjrin- 
cipal  story  has  a  corresponding  order  of 
engaged  Ionic  columns,  and  square-headed 
windows  with  caps  straight  and  pediment- 
ed.  The  entablature  is  richly  adorned 
and  is  crowned  with  an  attic. 

Palazzo  Dukazzo  (known  also  as  the 
Balbi-Durazzo,   and  as  the   Durazzo-Pal- 


lavicini),  the  smaller  of  the  two  palaces 
bearing  the  name  of  the  Durazzo  family 
in  Genoa.  It  consists  of  a  central  rec- 
tangular mass  about  105  ft.  broad  and. 
130  ft.  deep,  with  lateral  extensions  from 


r  -    _-vnoa,  Pal-  Durazzo. 

front  and  rear.  Its  principal  feature  is  an 
imposing  entrance-hall  in  the  centre  of  the 
front,  about  32  ft.  by  50  ft.,  witli  a  short 
staircase  occupying  its  full  width,  divided 
into  three  bays  by  Doric  columns  support- 
ing a  groined  ceiling,  and  leading  to  a 
square  court  surrounded  by  vaulted  ar- 
cades, the  vista  from  the  entrance  hall 
through  the  court  being  closed  by  a  sort 
of  exedra,  with  a  niche  at  its  base  enclos- 
ing a  statue.  From  a  corner  of  the  court 
opens  a  staircase  hall  decorated  with  much 
richness  and  elegance,  and  covered  with 
a  barrel-vault.  The  facade,  absolutely 
simple  in  point  of  detail  and  ornament,  is 
effective  from  its  extent  and  the  disposi- 


159 


GEXOA 


tion  of  its  parts.  It  is  lunirly  200  ft.  loii,;.'. 
ill  two  stages,  cacli  including  a  high  storv 
witli  mezzanine.    Its  centre  is  crowned  by 


Fig.  87. — Genoa,  Pal.  Duraizo,  Stairway 

a  corniccione  supported  on  consoles,  and  its 
wiugs  continue  in  the  lower  stage  the  de- 
sign of  the  centre,  while  the  upper  stage 
consists  of  an  open  arcade  of  three  round 
arches  supported  on  Doric  columns,  with 
balustrade;  between.  The  f)alace  was 
built,  it  is  said,  iu  the  xvii  cent,  for  tlie 
Balbi  family,  by  Bartolommeo  Bianco. 
The  staircase  is  attributed  to  Tagliafico. 
{See  Fir/s.  86,  87.) 

The  PAL.iZZO  GiUM.VLDi,  or  Palazzo 
Bianco,  was  built  after  the  middle  of  the 
XVI  cent,  from  the  designs  of  .Vlessi,  with 
a  rather  simple  front  of  something  over 
100  ft.,  and  spacious  vestibule  leading  to  a 
court  about  30  ft.  square,  enclosed  by  two 
stories  of  arcades  on  Doric  columns,  the 
lower  divided  by  cross  arches  into  square 


bay.-,  eacli    covered   l)y   a    low    decorated 

dome,  the  upper  covered  by  a  contiinious 

barrel-vault.      A    fine    vaulted    staircase 

opens  from  the  extremity  of  one 

of  the  arcades. 

The  Palazzo  Lercaki  (also 
I'arodi),  though  comparatively 
suL  a  11  has  interesting  features. 
'I'he  main  building  is  a  rectangle 
measuring  about  100  ft.  on  the 
frciiit.  and  about  .jO  ft.  in  depth, 
with  a  square  vestibule  in  the 
centre  and  a  fine  staircase  open- 
ing from  it.  From  the  angles  two 
wings  advance  to  the  street,  en- 
closing a  court  about  ■i'i.  ft.  square 
surrounded  by  an  arcade,  and 
closed  on  the  front  by  a  wall  of 
rustic  masonry  on  the  first  story, 
with  a  doorway  in  the  middle 
liclween  four  windows,  sur- 
mounted by  an  open  vaulted  log- 
gia of  great  elegance  flanked  by 
enclosed  pavilions,  which  have  an 
open  third  story.  The  princi{)al 
rooms  have  some  delicate  orna- 
mentation in  stucco.  The  palace 
was  built  toward  the  end  of  the 
XVI  cent,  from  the  designs  of 
Alessi. 
Palazzo  del  Mrxicirio.  See  PkL 
Diirid-'fiirxi. 

Palazzo  Negroxi,  a  small  palace  of 
which  the  architect  is  unknown,  but  in 
])lan  and  design  similar  to  most  of  those 
from  the  hand  of  Alessi.  In  the  centre 
of  its  front  of  about  76  ft.  three  grouped 
openings,  the  centre  one  marked  by  a 
small  portico  of  Doric  columns,  lead  to  an 
oblong  vestibule  from  which  a  short  stair 
a.scends  through  a  triple  arcade  to  an  ob- 
long court  surrounded  by  two  stories  of 
arcades,  at  the  farther  end  of  which  is 
an  elaborate  nympheum  in  three  bays  of 
the  full  breadth  of  the  court.  The  great 
double  staircase  deserves  notice. 

Palazzo  Parodi.     See  Pal  Lercan. 
'I'lic   Palazzo  Pkalk.  formerlv  belong- 


IfiO 


GENOA 


ing  to  tlu>  Diirazzo  family,  but  whicli  bo- 
came  the  property  of  tlie  King  of  Sanlinia 
in  1815,  is  one  of  the  hirge-st  and  most  im- 
posing of  the  Genoese  palaces.  The  cen- 
tral building  is  about  11"-J  ft.  square,  with 
two  wings  projecting  toward  the  rear  en- 
closing a  court  without  much  sijlendor. 
and  two  lateral  wings  from  the  front,  in- 
creasing the  facade  to  a  length  of  some- 
thing over  300  ft.  The  entrance  vestibule 
and  inner  staircase  hall  are  as  usual  the 
chief  internal  features  ;  the  former  is  in 
this  case  flanked  by  two  arcaded  galleries 
over  the  side  walls.  There  is  a  second 
court  behind  the  right  wing  of  the  fa9ade. 
The  palace  was  begun  in  the  middle  of 
the  XVII  cent,  by  Angelo  Falcone  :  the 
main  entrance,  added  by  Fontana  fifty 
years  later  (1T0.5),  has  jjut  the  rest  of 
the  facade  out  of  countenance. 

PAL.4ZZ0  Rosso.  See  Pal.  BriyuoJe- 
Sale. 

S.  Agostixo.  a  Gothic  church  of  the 
XIII  cent.,  and  one  of  the  few  churches 
of  that  age  in  Genoa  which  retain  their 
original  features  substantially  un- 
changed. It  has  a  simply  designed  west 
front  in  three  divisions,  divided  by  pil- 
aster-strips ending  in  arched  corbel- 
tables  ;  the  raised  centre  division  has  a 
square  doorway  under  a  pointed  bear- 
ing-arch, with  a  round  window  above 
and  a  low  gable.  The  side  divisions, 
following  the  outline  of  the  aisle-roofs, 
have  each  a  single  pointed-arched  win- 
dow, now  walled  up.  The  masonry  is 
in  alternate  courses  of  white  and  dark 
marble.  The  square  tower  is  of  brick, 
its  two  upper  stages  with  grouped  point- 
ed windows,  and  is  crowned  with  an  oc- 
tagonal spire  with  square  pinnacles  at 
the  angles. 

S.  Ambrogio.  or  the  C'hiesa  di  Gesu, 
a  Renaissance  church  built  in  158'J,  with 
an  iinfiuished  facade   begun  in  1039  by 
the  Jesuit  father  Valeriani.     It  is  cruci- 
form, with  a  central  dome,  nave,  and  deep 
square -ended   choir,    each   in   two   bays. 


and  a  transept  with  one  l)ay  in  each  ai'ni. 
The  front  shows  three  plain  doorways  in 
the  intervals  of  an  order  of  coupled  Co- 
rinthian pilasters.  A  like  oi'der  of  single 
pilasters  adorns  the  interior,  where  the 
arms  of  the  cross  are  covered  by  barrel 
vaults,  and  the  aisles,  lined  with  shallow 
chapels,  by  domes  invisible  from  without. 
The  whole  interior  is  rich,  after  the  Je- 
suit fashion,  with  mosaics,  paintings,  and 
gilding. 

Sta.  Anntsziata.  One  of  the  most 
conspicuous  of  the  Genoese  churches, 
built  toward  the  end  of  the  xvi  cent., 
from  the  designs  of  Giacomo  della  Porta. 
Its  plan  is  a  rectangle  about  110  ft.  wide 
and  205  ft.  long,  with  a  nave  and  short 
transept    covered   by    continuous    barrel- 


—  Genoa,  Sta,  Annunziata. 


vaults,  and  aisles  by  a  series  of  flat-domed 
ceilings  with  a  low  dome  at  the  crossing. 
Nave  and  aisles  .ire  separated  by  a  rich- 
Iv  decorated  arcade,  of  which  the  arches 


GENUA 


spriiifT  from  Corinthian  columns  of  white     uuck-r  the  choir  and  apse,  and  is  now  used 
marhle  and  are  surmounted  hv  a  full  en-     as  a  wareliouse. 


tal)lature,  also  richly  adorned  and  con- 
nected with  the  columns  by  jianelled  pi- 
laster strii)s.  The  vault  of  the  nave  is 
pierced  by  lunettes  containing  square  win- 
dows, and  the  jjrojecting  choir  eiuls  in  an 
apse.  Each  aisle  is  ilanked  by  a  line  of 
rectangular  chapels.  The  materials  of 
the  interior  are  of  great  richness,  the 
walls  being  iiiu'd  throughont  with  va- 
rious marbles  arranged  in  geometrit'al 
patterns,  and  the  ceilings  everywhere  dec- 
orated with  jiaintings.  The  fa(;ade  is  of 
brick  and  is  unfinished,  with  the  excep- 
tion of  a  priiji'ctinu'  Tonic  portico.  (,SV^ 
Fill.  SS.) 

St.  C'yius.     See  S.  Siro. 

S.  DoxATO,  an  ancient  Lombard  church 
dating  from  about  1000,  but  somewhat 
changed  a  centui'v  later.  It  has  a  nave 
and  aisles  se[)arated  by  columns  partly 
antique  ami  of  various  nuirbles,  with  rude 
capitals  carrying  round  arches,  a  transept, 
and  choir.  Tlie  crossing  was  originally 
covered  by  a  low  dome,  which  was  re- 
placed by  an  octagonal  tower  in  two 
stages  with  grouped  windows  and  arched 
corbel-tables.  The  lower  part  of  the  fa- 
cade is  Lombard  work  with  a  characteris- 
tic early  doorway  l)earing  date  1108  ;  the 
upper  later,  with  jiointed  an-lics  and 
banded  masonry. 

S.  GiovAXXi  1)1  I'liK.  or  del  Prato.  A 
Gothic  church,  dating  in  its  present  form 
from  early  in  tlie  xii  cent.,  but  with  some 
portions  remaining  of  the  original  build- 

:.   «    ^*    ^     -. i.  1-  I  i.  ^1  ^'S    S^ — Genoa,  Sta.  Maria  di  Caripnano. 

ing  01  a  century  earlier.     It  has  a  nave 

and  aisles,  a  transept  not  projecting  be-  octagonal  lanterns,   and  in    the  nnddle  a 

yond  the  aisle  walls,  an  apsidal  choir,  and  rococo  doorway.     The  drum  of  the  central 

an  open,  arcaded  porch  on  the  south  side,  dome  has  an  order  of  coupled  Corinthian 

flanked  by  a  square  campanile  with  grouped  pilasters,    the   intervals   filled   with   deep 

windows  in  the  upper  stages,  and  an  oc-  arches  enclosing  large  windows.    (Srr  Fiff. 

tagonal  spire  with  coriter  pinmicles.     The  SO.) 


Sta.  Maiua  di  Caku;xanu,  a  Kenais- 
sance  church  built  about  the  middle  of 
the  XVI  cent.,  from  the  designs  of  Galeaz- 
zo  Alessi.  Its  plan  is  a  Greek  cross,  with 
its  centre  covered  by  a  stilted  hemispher- 
iral  dnme  about  ^'i  ft.  in  diameter,  with 
higli  drum  and  cupola,  and  the  four  arms 
of  the  cross  with  barrel-vaults,  the  angles 
being  filled  out  by  aisles  of  a  single  square 
bay  covered  with  low  interior  domes,  mak- 
ing the  outline  of  the  2)lan  a  square  of 
about  KG  ft.  An  order  of  coupled  Co- 
rinthian pilasters  encompasses  the  interi- 
or, supporting  the  vaults  and  the  arches 
antl  pendentives  of  the  dome.  The  choir 
ends  in  a  semicircular  apse  covered  by  a 
semidome.  The  Corinthian  order  of  the 
inside  is  repeated  on  the  exterior,  broken 
on  three  sides  by  pedimented  gables  with 
great  lunettes  in  the  tympanums.  At  the 
corners  of  the  west  front  are  two  slender, 
square   towers,  tall  and   wide  apart,   with 


ground,  falling  away  south  and  west,  gives 
opportunity  for  a  pointed  arcade  under 
the  south  aisle,  which  affords  an  entrance 
to  the  crypt  of  the  xii  cent,  that  extemls 


S.  :\1attko.  This  small  clunvli  is  a 
venerable  nu'morial  of  the  Duria  familv. 
who  foumlcd  it  early  in  the  xii  ccnturv. 
The  front,  added   in   I'^'TS.  is  banded    in 


OEXOA 


until  tlieir  exiiul.siou  in  lTi'3.  Its  archi- 
tect was  Bartolonnnco  Bianco.  It  covers 
a  space  about  13(1  ft. wide  and  80  ft.  deep, 
the  greater  portion  of  which  is  occupied 
liv  a  noble  cutvancc  hall,   and   the  great 


black  and   white   inai'tile.   and   sliows    the 
outline  of  nave  and  aisles,   ending  in  an 
arcaded   cornice    and   central    gable.       A 
large  round  window  under  tlie  gable,  aud 
a  jjointed  doorway  with  an  old  mosaic  in 
the   tynijjanum,    are    flanked    liy 
two  side-windows,  and  the  fac/ade 
is  covered  with  inscriptions  which 
tell  the  glories  of  the  Doria  fam- 
ily and   the  gratititde  of  (ienoa. 
The  interior,   rebuilt  in    Ivenais- 
sauce  style  for  Andrea  Doria  by 
Moutorsoli    in   1530,   has  a   na\e 
aud  aisles  in  five  bays  with  arches 
supjjorted   by  marble   Composite 
columns,     The   graceful    cloister 
dates  from  the  early  xiii  cent., 
partly  perhaps  from  the  xii  cent,, 
and  has  pointed  arcades  support- 
ed on  coupled  columns. 

S.  SiRO  (St.  Cyrus),  a  Eoiiais- 
sance  church  of  the  xvi  cent., 
built  on  the  foundations  of  an 
early  Lombard  church,  the  orig- 
inal cathedral,  of  which  scarcely 
anything  remains  except  the  tow- 
er. The  church  was  restored  in 
1820,  and  now  consists  of  a  nave 
and  aisles  aboitt  To  ft.  wide  in 
four  bays,  with  a  range  of  shallow 
chapels  opening  from  each  aisle, 
a  transept  which  does  not  project 
beyond    the    aisle    walls,    and    a 

square  choir  flanked  by  chapels  and  jjro-  court  to  which  it  leads.  The  former  is 
longed  by  a  round  apse. '  The  barrel-vaulted  about  TO  ft.  broad  aud  40  ft.  deep,  and 
nave  and  aisles  are  separated  by  coupled  contains  a  stately  staircase  flanked  by  two 
Corinthian  columns  carrying  arches.  The  colossal  lions  at  the  foot,  and  leading  to 
crossing  is  covered  by  a  round  dome.  The  the  court,  whose  pavement  is  some  U  ft. 
old  Lombard  tower"  banded  in  light  and  above  the  street.  This  court  measures 
dark  stone,  has  a  double  belfry-stage  with  about  45  ft.  by  80  ft.,  and  is  surrounded  by 
two-light  windows  in  each  face  under  a  two  stories  of  vaulted  corridors  with  open 
round  bearing-arch,  aud  is  capped  by  an  round  arches  springing  from  coupled  col- 
octagonal  spire  of  stone  with  square  angh>  umns  capped  by  entablatures,  Tuscan  in 
pinnacles.     (,sVe  Fir/.  90.)  the  flrst  storv,  Ionic  in  the  second.    Above 


Fig.  90, — Genoa,  S.  Siro. 


The  L^xiVERSiTY,  one  of  the  most  nuig- 
nificent  of  Genoese  palaces,  was  built  by 
the  Balbi  family  in  1642  for  the  service 
of   the   Jesuits,   aud   was   used   by    them 


the  second  arcade  the  wall  of  the  third 
story  recedes  by  the  breadth  of  the  cor- 
ridor. At  the  farther  end  of  the  court  is 
a  crreat  staircase  hall,  with  a  staircase  in 


lliS 


GERACE 


two  wings.  The  f:u;;i(l(>  in  tlirec  stoi'ios. 
set  on  a  high  basement,  is  disposed  in 
three  vertical  divisions  of  nearly  equal 
breadth  ;  the  middle  slightly  receding. 
In  the  centre  is  a  square  doorway  with 
coupled  rustic  columns  on  either  side 
carrying  an  entablature  and  segmental 
pediment.  The  windows  are  all  square 
with  balustrade  courses,  and  rather  rococo 
dressings  in  the  first  story — in  the  upper 
stories  simple  enclosing  architraves,  with 
pediments  alteriuxtely  triangular  and  seg- 
mental. The  front  is  crowned  with  a  fine 
modillioned  corniccione.  The  interinr 
contains  a  library  and  a  natural  history 
museum.  The  halls  are  decorated  with 
frescoes  bv  native  painters,  and  bronze 
statues  liy  .bihn  of  Bologna. 

ViLi-.v  (Palazzo)  Sauli,  formerly  Grim- 
aldi.  One  of  the  smaller  of  the  (ienoese 
palaces,  the  building  itself  covering  an 
area  about  10*  ft.  wide  and  G3  ft.  deep, 
but  preceded  by  a  fine  entrance  court  or 
atrium  nearly  00  ft.  square,  surrounded 
on  three  sides  by  an  open  arcade  with 
coupled  Doric  columns  of  white  marble 
and  entablature,  the  front  of  the  palace 
making  the  fourth  side,  of  which  the  sec- 
ond story  is  a  spacious  open  gallery  with  ar- 
caded  walls  and  a  richly  panelled  and  dec- 
orated vaulted  ceiling.  The  rear  elevation 
on  the  garden  is  of  great  elegance,  in  two 
stages,  each  with  an  order  of  coupled 
pilasters,  Doric  below  and  ("orinthiau 
above,  the  lower  order  enclosing  an  arcade 
with  long  windows  and  square  mezzanine 
windows  above,  the  upper  order  with 
pedimented  windows,  also  with  mezzanine. 
\  richly  decorated  entablature  with  balus- 
trade above  it  terminates  the  facade.  The 
palace  was  built  in  the  second  half  of  the 
XVI  cent,  from  the  designs  of  Galeazzo 
Alessi. 

(iERACE.     See  Lnrri. 
(;KRASA  (Jerash),  Perroa,  Palestine. 

liAsiLiCA,  north  of  the  junction  of  the 
colonnaded  streets.  In  the  surviving  part 
of  its  walls  are  three  archecl  windows  and 


two  square-headed,  above  which  is  a  range 
(if  highly  ornate  broken  pediments.  One 
Corinthian  column  of  the  two  ranges  of 
the  interior  is  standing,  and  the  semicir- 
cular apse  or  tribune  is  almost  perfect. 

Baths,  to  the  right  of  the  main  street 
in  the  N.  E.  quarter  of  the  town.  The 
main  building  was  about  :^00  ft.  square, 
with  a  colonnade  in  front.  The  chief  en- 
trance was  vaulted,  ainl  square  vaulted 
wings  ])rojected  on  the  north  and  south 
sides.  Portions  remain  of  the  aqueduct 
by  which  water  was  sui)j)licd. 

FoKi'M.  of  oval  plan,  about  300  ft.  long. 
It  was  surrounded  by  a  peristyle  of  Ionic 
columns,  of  which  fifty-eight  in  detached 
groujjs  still  stand,  with  jiart  of  their  en- 
tablature. From  the  forum  starts  the 
im])ressive  colonnade  -  bordered  street 
which  intersected  the  whole  town.  About 
one  hundred  of  the  columns  are  still 
standing,  some  1.5  ft.  ajiart  ;  of  many 
more  the  bases  and  lower  parts  remain. 
The  height  is  about  15  ft.,  but  there 
seems  to  have  been,  in  addition,  an  open 
gallery  above  the  columns.  The  chief 
cross-street,  intersecting  the  main  street 
at  right  angles,  was  also  bordered  with 
colonnades  ;  four  massive  bases  at  the 
junction  indicate  the  presence  of  a  monu- 
mental gateway  or  fcfrajii/Jon  spanning 
the  two  streets  with  its  arches. 

Gate  in  the  walls  outside  of  tlu-  tnwii. 
presenting  the  appearance  of  an  arch  nf 
triumph.  Its  width  is  82  ft.,  aiul  the 
height  of  the  central  one  of  its  three 
arches  is  29  ft.  Over  each  of  the  side- 
arches  is  a  window-like  niche.  The  col- 
umns on  the  south  side  have  a  sort  of 
])edestal  of  acanthus  leaves  above  the 
bases  proper.  The  date  seems  to  be  of 
the  time  of  Trajan. 

Nai'machy,  more  probably  a  circus. 
near  the  triple  gateway  south  of  the  city 
])roper,  in  a  hollow  between  hills.  It  is 
about  G90  ft.  long  and  :500  ft.  wide. 
Some  of  the  tiers  of  seats  are  in  part  pre- 
served.    The  arena  is  enclosed  with  irood 


GEEME 


masonry,  and  the  existence  of  water-chan- 
nels connecting  it  with  the  brook  gives 
force  to  the  identification  as  a  nanmachy. 

PKOPYL.iiA,  on  the  left-hand  side  of  the 
main  street,  opposite  the  basilica.  It  is  of 
impressive  size.  The  lintel  of  the  great 
portal  has  fallen.  On  either  side  are  two 
niches  in  the  wall,  with  florid  broken  jjcd- 
iments.  To  the  north  stands  a  strnctnre 
which  may  have  been  a  palace. 

Great  Temple,  probably  of  the  Sun,  on 
a  large  terrace  on  the  west  side  of  the 
town.  The  cella  of  the  temple  25roper, 
oriented  toward  the  east,  is  78  ft.  by  60  ft. 
in  plan  ;  its  walls  are  standing  on  three 
sides.  In  the  side  walls  there  are  six  ob- 
long niches,  and  in  the  back  wall  a  vault- 
ed passage  with  a  small,  dark  chamber  on 
each  side.  A  number  of  the  beautiful 
Corinthian  columns  of  the  peristyle  are 
still  standing  ;  they  are  38  ft.  high  and 
like  those  of  the  Temple  of  the  Sun  at 
Palmyra.  The  temple  was  hexastyle,  with 
two  interior  ranges  of  columns  before  the 
portal.  It  stood  in  a  large  colonnaded 
court,  many  of  the  columns  of  which  are 
still  erect. 

Temple,  on  the  east  side  of  the  brook, 
near  the  north  wall  of  the  town.  It  was 
about  150  ft.  square  ;  jiart  of  the  wall  is 
standing,  with  a  vaulted  portal,  and  one 
of  the  interior  columns.  There  is  sculpt- 
ured ornament  of  good  execution. 

Temple,  on  an  elevation,  left  of  the 
south  gate  of  the  town.  Its  walls.  7|  ft. 
thick,  contain  series  of  niches  and  win- 
dows. One  Corinthian  column  of  the 
peristyle  is  standing,  and  bases  of  others 
are  in  position.  There  was  a  double 
range  of  columns  before  the  entrance. 
The  interior  of  the  cella  was  adorned  with 
Corinthian  pilasters,  and  the  roof  was  of 
stone.  The  dimensions  are  about  lii)  ft. 
by  48  ft. 

Large  Theatre,  close  to  the  southern 
city-wall,  near  the  temple  by  the  south 
gate.  It  faces  the  north.  Twenty-eight 
tiers  of  seats  are  visible,  divided  into  two 


sections  by  a  precinction  or  horizontal 
gallery,  at  the  back  of  which  are  eight 
small  chambers,  perhaps  boxes.  Tliere 
was  access  to  the  precinction  from  with- 
out by  vaulted  passages.  The  top  of  the 
auditorium  was  skirted  by  a  gallery.  The 
ornate  stage-structure  is  in  great  part  de- 
stroyed ;  it  had  three  portals,  the  central 
one  square,  the  two  at  the  sides  arched, 
and  was  decorated  with  niches  and  Cor- 
inthian columns.  The  capacity  of  the 
theatre  is  estimated  at  five  thousand  spec- 
tators. 

Small  Theatre,  N.  E.  of  the  Great 
Temjjle.  Sixteen  tiers  of  seats  remain 
visible.  Between  the  tenth  and  eleventh 
tiers  from  the  top  is  a  horizontal  gallery 
with  six  arches  in  its  back  wall,  and  niches 
between  every  two  arches.  Below  the 
auditorium  vaulted  substructions  exist. 
The  orchestra  and  stage  are  Iniried  ;  the 
wall  of  the  stage  was  adorned  with  de- 
tached columns.  This  theatre  was  ap- 
proached from  the  main  street  by  a  side 
street  bordered  with  columns,  at  the  en- 
trance of  which  there  is  a  flat-domed  te- 
trapyhn  or  monumental  gate,  circular  in 
plan  within  and  square  witliout.  The 
rotunda  was  ornamented  with  statues. 
GEEME.  See  Kremnti. 
GIEGENTI  (anc.  Akragas,  Agrigentum), 
Sicily. 

Sta.  Maria  de'  Greci.  See  Temple  of 
Athena. 

Temple  of  .J^sculapius,  a  Doric  edi- 
fice, 30  ft.  by  65  ft.,  whose  remains  are 
included  in  the  structure  of  a  modern 
house  between  the  ancient  southern  wall 
and  the  sea.  An  anta  on  the  north 
still  stands  to  a  height  of  17  ft.,  and  one 
of  the  anta^  on  the  south  side  is  entire. 
The  temple  had  both  pronaos  and  opis- 
thodomos  in  anti.s,  on  a  sterobate  of  four 
stejis.  Despite  its  inconsiderable  size  it 
had  a  high  reputation,  and  in  it  was  dedi- 
cated a  celebrated  statue  of  Apollo  by 
Myron. 

Temple  of  Athena,  as  it  is  identified 


les 


GIKGENTI 


with  ])i-<)l):il)ility,  an  important  arcliaic 
Doric  temple  wiiosc  remains  are  now  in- 
corporated in  tlie  cliiirch  of  Stn.  Maria  ile' 
(ireci,  the  oldest  church  in  (iirjrcnti. 
'I'he  temjjle  was  peripteral,  hexastyle.  with 
thirteen  columns  on  the  flanks,  on  a  sty- 
lobate  of  three  steps.  Parts  of  the  shafts 
of  seven  columns  are  visible  on  the  north 
side,  with  various  other  fra^jments. 

Temple  of  Castoi;  and  Polux.  or  of 
the  Dioscuri,   witliin  a  short  distance  of 


the  temple  of  Zeus,  a  fireek  J)oric  monu- 
ment of  good  style.  The  four  columns 
standiiifr,  which  form  the  N.  W.  angle. 
witJi  their  entablature  and  a  portion  of 
the  pediment,  were  re-erected  in  1860. 
The  stone  is  coated  with  fine  stucco,  upon 
which  color  was  applied.  In  plan  the 
temple  was  peripteral,  hexastyle,  with 
thirteen  columns  on  the  Hanks  on  a  stylo- 
bate  of  three  steps.  The  chief  dimensions 
are  :  stylobate,  steps  included,  51  ft.  by 
111  ft.;  columns,  base-diameter,  o  ft.  10 J 
in.,  height.  21  ft.  2  in.;  cella.  18i  ft.  bv 
V.^h^tt.'  {Sec  Fi(/.  01.) 


Tk.mi'Li;  oi'  t'oxcoiii),  .so  called,  on  the 
Ijorder  of  the  southern  slope  of  the  city, 
the  best  j)reserved  (ireek  Doric  temple 
except  the  .so-called  Theseum  iit  Athens. 
It  is  of  the  best  time,  the  v  cent.  B.C., 
and  is  of  great  beauty,  though  falling 
short  of  Attic  jierfection.  In  plan  it  is 
peripteral  hexastyle,  with  thirteen  col- 
umns on  the  flanks,  on  a  stylobate  of  three 
ste2)s.  The  cella  has  prouaos  and  opis- 
thodomos.each  with  two  columns  in  an/is, 
and  the  entrance  is  flanked  on  each  side 
liy  a  winding  stair  which  gave  access  to 
the  upi)er  parts  of  the  structure.  Both 
|iediments  survive,  though  the  roof  is 
gone,  as  well  as  all  decorative  sculpture. 
The  columns  have  twenty  channels  ;  they 
are  of  rough  stone  and  were  coated  thin- 
ly, like  the  rest  of  the  exterior,  with  fine 
stucco.  The  stylobate,  steps  included, 
measures  (!.")  ft.  by  i;i8  ft.;  the  cella  30  ft. 
by  !).")  ft.  In  the  xv  cent,  this  temple 
was  converted  into  a  church  dedicated  to 
S.  (iregorio  delle  Kape,  and  somewhat 
damaged  in  the  conversion  :  it  was  re- 
stored by  the  King  of  Naples  in  the  last 
century. 

Temple  of  Demeter  and  Pkksicpii- 
ONE.  according  to  the  proljaijle  identifi- 
cation, a  very  early  monument  which  was 
CI  inverted  into  the  mediaeval  cliurch  of 
S.  Hiagio.  now  itself  ruinous.  The  \n-o- 
naos  is  occupied  by  the  apse  of  the  church, 
and  a  pointed  doorway  is  established  in 
the  back  wall.  In  plan  the  temple  pre- 
sents a  cella  with  two  columns  in  cmfis. 
The  walls,  which  are  built  of  excellent 
masonry,  remain  almost  entire.  The  col- 
umns and  cornices  have  perished.  The 
stercobate,  including  the  .steps,  measures 
40  ft.  by  90  ft. 

Temple  of  IIeka  Lacixia  (of  the 
Lacinian  Promontory  near  Crotona),  now 
a  very  picturesque  group  of  columns  at 
the  southeastern  angle  of  the  ancient 
city.  It  was  Doric,  still  presenting  ar- 
chaic features,  and  is  a.ssigned  to  the  time 
between  oOO  and  480   n.c.      In    ])lan    the 


GIKGEXTI 


toinjjle  was  peripteral.  liexaHtyU',  with 
thirteen  columns  on  tlie  flanks.  'I'lie  eel- 
la  had  ]ironaos  anil  opisthodomos,  each 
with  two  cdlumns  in  iiiilis.  A  part  re- 
mains of  the  base  of  the  cult-statue  in  the 
cella.  The  columns  have  twenty  channels 
and  an  echinus  of  firm  and  refined  curve  ; 
the  architrave  is  higher  than  the  frieze — 
un  archaic  characteristic.  The  material  is 
a  rough  stone,  which  was  coated  with  fine 
hard  stucco.  The  chief  dimensions  are  : 
stylobate,  steps  included,  G-1  ft.  by  100  ft.; 
columns,  base  -  diameter.  4;^  ft.:  height, 
21  ft.;  cella.  30  ft.  by  Dl  ft. 

Temple  of  Hercules,  at  the  edge  of 
the  southern  slope,  just  inside  of  the  city- 
wall.  This  structure,  one  of  the  most  fa- 
mous of  the  Doric  temples  of  the  o])en- 
ing  jieriod  of  full  development,  is  now  a 
confused  heap  of  ruins,  amid  which  lie 
capitals,  column-drums,  and  members  of 
the  entablature,  all  of  admirable  execution. 
In  plan  it  was  peripteral,  hexastylc.  with 
fifteen  columns  on  the  flanks  and  an  in- 
creased number  of  steps  in  front.  The 
cella  had  prouaos  and  opisthodomos.  each 
with  two  columns  in  anfis ;  the  lower 
portions  of  the  former  are  still  standing. 
Examples  of  the  interesting  polyc-hrome 
decoration  of  this  temple  are  in  the  mu- 
seum at  Palermo.  The  chief  dimensions 
are  :  stylobate,  including  steps,  90  ft.  by 
241  ft.';  cella,  45  ft.  by  150  ft.;  height  of 
columns.  32|  ft.,  which  is  a  little  more 
than  four  and  a  half  diameters.  The  cyma 
of  the  cornice  had  a  sheathing  of  terra- 
cotta with  lion  -  heads  as  antefixes,  and 
adorned  with  anthemia  and  palmettes  in 
relief  and  colored.  In  this  temple  was 
the  famous  statue  of  Hercules  whose  at- 
tempted theft  by  Yerres  was  the  subject 
of  Cicero's  denunciation. 

Temple  OF  VtLCAX,  so-called,  a  lioman 
monument  at  the  S.  W.  angle  of  the 
ancient  city.  Portions  of  two  fluted  col- 
umns are  standing,  and  parts  of  the  cella 
walls.  The  columns  have  twenty  flutes 
and  stand  on  stpiare  plinths  ;  their  base- 


dianicter  is  4J  ft.  The  ground  jilan  meas- 
ures 03  ft.  by  125^  ft.;  the  stylobate  has 
three  steps. 

Temple  of  Zeus,  at  the  western  ex- 
tremity of  the  southern  slope,  a  huge 
monument  which  counts  among  the  most 
notable  examples  of  the  Doric  style.  It  is 
pseudo  -  peripteral  in  jjlan  and  lies  in  a 
confused  heap  of  ruins.  The  plan  is  ab- 
normal in  that  it  presents  an  uneven 
number  of  cohtmns,  seven,  on  the  fronts  ; 
there  are  fourteen  en  each  flank  ;  to  the 
semi-columns  of  the  exterior  corresjionded 
pilasters  in  the  interior.  In  the  interior 
ranges  of  huge  atlantes  above  the  pilas- 
ters supported  the  roof-beams.  The  fronts 
are  restored,  with  doors  in  the  second  inter- 
columniations  from  each  angle.  Diodorus 
iSiculus  informs  us  that  tlie  eastern  pedi- 
ment was  filled  with  a  seuljitured  Giganto- 
macliy,  and  the  western  with  the  fall  of 
Troy,  both  in  high  relief  and  much  ad- 
mired. As  usually  restored  the  temple  pre- 
sents a  long  central  cella  or  open  court ; 
but  it  has  been  very  plausibly  suggested 
that  it  may  have  lieen  a  douljle  temple  with 
a  central  longitudinal  division,  like  the 
so-called  Basilica  at  Pfestum.  In  date  it 
falls  between  the  victory  at  Himera,  in 
4S0B.('..and  the  taking  of  Akragas  by 
the  Carthaginians  in  400.  Its  scale  is 
enormous.  The  stylobate,  steps  included, 
measures  182  ft.  by  303  ft. ;  the  height  of 
the  semi-columns  was  55  ft.  A  considera- 
ble part  of  the  ruins  was  used  in  the  xvi 
cent,  in  the  building  of  a  mole  for  the  port. 

Tomb  of  Thekox,  so-called,  a  uonde- 
scrijit  structure  of  much  later  date  than 
Theron,  lying  a  short  distance  outside  of 
the  city-walls,  to  the  south.  It  belongs 
to  the  second  period  of  Akragas  (405  to 
200  B.C.),  and  no  doubt  to  the  end  of 
that  period.  It  is  of  two  stories  :  in  the 
ni)per  story  a  fluted  Ionic  column  with 
angle-capital,  at  each  corner,  supjiorts  a 
Doric  entablature.  The  lower  stage  is 
])lain,  IT  ft.  scjuare.  witii  a  projecting  cor- 
nice.     There  arc   blank   windows   in   two 


OJOLBASCTTI 


of  the  fjiecs  of  tlio  upper  stage.  There 
was  no  door  ;  that  now  existing  on  the 
south  side  is  modern.  Tlie  lieight  to  the 
toji  of  the  I'l-ieze  (the  cornii'e  is  gone)  is 
25  ft. 

GJOLBASCIII  (anc.  Trysa),  Asia  Minor. 
Greek  M.\r.soi.Ei'M,  e.xplored  since 
1881  by  the  Austrian  Government.  It 
consists  of  a  hxrge  rectanguhir  enclosure 
about  C")  ft.  by  88  ft.,  in  admirable  ma- 
sonry of  horizontal  courses  of  limestone. 
Its  chief  iiiipoi'tancc  lies  in  the  very  exten- 
sive and  remarkable  sculptured  friezes  with 
which  its  walls  were  adorned,  both  inside 
and  out.  These  sculptures  form  the  most 
important  series  of  ancient  relief  surviv- 
ing, except  the  friezes  of  the  Parthenon,  of 
Phigaleia,  and  of  the  Mausoleum  at  llali- 
carnassus.  While  inferior  in  execution  to 
the  Panathenaic  Frieze,  they  are  superior 
iu  interest  and  variety  of  subject  and  in- 
cident to  both  the  other  friezes.  The 
subjects  include  a  very  important  repre- 
sentation of  the  story  of  Troy,  evidently 
inspired  by  some  other  than  the  Homeric 
account,  a  (iombat  of  CJentaurs  and  La- 
piths,  hunting  scenes,  incidents  from  the 
Odyssey,  the  hunt  of  the  Calydonian 
boar,  and  banqueting  and  dancing  scenes. 
These  last  were  appropriately  placed  in 
the  interior,  which  was  evidently  arranged 
for  holding  finicral  li:in(|ncts  and  cere- 
monies of  kindred  nature.  The  work  is 
certainly  not  Lycian  ;  it  is  safe  to  assume 
that  it  is  l)y  sculptors  of  Athenian  train- 
ing, and  in  date  not  far  from  i'H)  is.r. 
The  south  wall  was  the  only  one  which 
bore  a  frieze  on  the  exterior  ;  in  this  wall, 
too,  was  tlie  door.  'I'he  lintel  bore  on  the 
exterioi'  I'oui'  heads  of  winged  bulls  and  a 
(iorgou-head  ;  on  the  interior  a  range  of 
grotesque  figures,  resembling  the  Egyp- 
tian Hes,  with  musical  instruments.  The 
interior  jambs  bore  large  dancing  figures. 
These  decorations  of  the  door  form  al- 
r.iost  the  only  trace  of  oriental  influence 
that  can  be  made  out  in  the  monu- 
ment.     .\r(iund  the   intcrinr   \\ri\-   r,ii\i::ri\ 


sarcophagi.     The  jirecious  series  of  sculpt- 
ures is,  since  1883,  in  safety  at  Vienna. 
GORTYNA,  Crete. 

Pytiiiox,  or  Temple  of  Apollo,  an  early 
Greek  foundation,  modified  about  the  ill 
cent.  B.C.  by  the  Greeks,  and  at  a  some- 
what advanced  imjDerial  date  altered  and 
in  part  rebuilt  by  the  Romans.  The  ori- 
ginal structure  consisted  merely  of  a  cella 
of  Poros  stone,  facing  the  east  and  wider 
than  dec}).  To  this  was  prefixed  during 
the  Hellenistic  eiooch  a  Doric  closed  jn-o- 
naos  —  hexastyle,  pseudo- prostyle,  rising 
from  a  styloliate  of  three  steps.  A  base 
of  two  steps,  besides  the  plinth -course 
{enJJii/iifci'ia).  surrounded  the  three  other 
sides.  The  semi-columns  were  o^  ft.  in 
lower  diameter,  and  five  and  a  half  diam- 
eters high  ;  the  intercolumniation  (cen- 
tre to  centre)  was  11|  ft.,  those  at  the 
angles  being  eight  inches  less  ;  in  every 
intercolumniation  there  rose  a  square  pil- 
aster or  buttress,  apparently  designed  for 
the  inscribing  of  laws  jjlaced  under  tlu.' 
guard  of  the  god  ;  such  laws  were  in- 
scribed also  on  all  the  exterior  walls,  'i'he 
frieze  was  disposed  on  the  ditriglyiili  prin- 
ciple. The  cyma  of  the  cornice  was  or- 
namented with  lion-heads  ;  the  pediment 
was  crowned  with  an  elaborate  acanthus 
acrotorium  of  Corinthian  character.  The 
Romans  pulled  down  the  Greek  cella  ami 
rebuilt  it  with  the  same  materials,  but 
with  the  use  of  cement,  and  formed  in  the 
back  wall  an  apse  21  ft.  wide.  The  new 
cella  liad  two  interior  ranges  of  three  un- 
tlutcd  ('orinthian  columns,  and  in  each 
side  a  rectangular  niche.  It  was  encrust- 
ed altogether  or  in  part  with  slabs  of  white 
marble,  'i'he  dimensions  of  the  temjile 
were  i!|  ft.  by  8:5  ft.  ;  of  the  pronaos,  oo 
ft.  by  2(1  ft.  :  of  the  I'clla.  .53  ft.  by  47  ft. 
An  altar  of  Roman  date  stood  before  the 
temple.  A  nundjcr  of  votive  statues  of 
good  workmanship  were  found  in  the  exca- 
vations, among  them  an  .\]iiillo.  uiidraiie(l 
ephebes.  fenuile  figures,  the  head  (jf  a 
priest,  and  the  toi'so  of  an  cin[icroi'. 


GRADO 


GRADO.  Venetia.  Austria, 

The  Cathedral  is  a  basilica  of  mod- 
erate size,  about  70  ft.  by  100  ft.  over 
all.  It  has  a  nave  about  30  ft.  wide,  of 
eleven  rather  narrow  bays,  round-arehed, 
one  apse  round  within  and  j^olyS'^'i'i^ 
without,  and  single  aisles.  In  front  of 
the  facjade,  which  is  somewhat  oblique  to 
the  axis,  is  a  wide  OTpen  porch  or  narthex, 
one  end  of  it  filled  uj)  by  the  campanile, 
which  stands  against  the  south  aisle.  The 
pillars  of  the  nave  are  Roman  shafts 
with  ill-fitting  capitals,  some  of  which  are 
Roman,  others  of  liiie  Byzantine  work- 
manship, and  some  undecipherable.  The 
walls  are  plain,  and  the  former  round- 
arched  clerestory  windows  are  replaced  by 
late  lunettes.  The  slab  tracery  of  one  of 
the  original  aisle  windows,  jjreserved  in 
the  sacristy,  is  of  interlacing  bauds  in  con- 
crete, and  similar  tracery,  tradition  savs. 
once  filled  the  clerestory.  The  cliurcli 
was  floored  with  a  rich  mosaic  of  colored 
marble,  of  which  a  considerable  part  still 
remains.  At  the  end  of  the  ajDse  is  the 
marble  patriarchal  chair,  a  composite  of 
old  Byzantine  fragments.  The  very  sin- 
gular marble  pulpit  is  of  two  periods ;  the 
body  of  it,  Byzantine,  is  a  six-foiled  cir- 
cle in  jjlan.  like  one  of  those  in  S.  J[ark"s 
at  Venice,  resting  on  six  marble  columns, 
and  carrying  a  canopy,  Saracenic  in  style, 
with  cusped  ogee  arches,  and  a  checkered 
dome  which,  however,  is  of  painted  brick. 
The  baptistery  is  a  plain  detached  octa- 
gonal building  with  an  eastern  apse.  An 
inscrijition  in  the  mosaic  pavement  com- 
memorates the  rebuilding  of  the  church 
by  the  patriarch  Elias  (.371—380).  and  the 
existing  church  may  very  well  be  that 
which  he  built. 
GRAVEDOXA,  Italy. 

Baptistery  of  S.  (iiovauni  Battista 
(St,  John  the  Baptist),  an  interesting  ex- 
ample of  a  class  of  buildings  very  char- 
acteristic of  the  architecture  of  Xorth 
Italy  in  the  xi  and  xii  cents.,  and  of 
which  Florence,  Pisa,  and  Parma  on  a  large 


scale,  and  Xovara,  Asti,  and  Biella  on  a 
small,  furnish  notable  instances.  That  at 
Gravedona  is  peculiar  in  being  treated 
like  a  church,  with  high  walls  enclosing  a 
square  of  about  -tO  ft.,  east  and  west  gables, 
and  a  lofty  western  tower ;  the  usual 
forms  being  round  or  polygonal.  On  the 
two  sides  and  the  east  end  are  low  round 
apses.  From  the  middle  of  the  west 
front  projects  a  square  tower,  with  a 
round-arched  doorway  with  splayed  jambs 
and  a  iilaiu  tymjianum.  At  the  line  of 
the  gable  it  changes  to  an  octagon  of 
three  stories,  with  small  grouped  round- 
arched  windows  in  four  sides,  separated  by 
columnar  niullions,  each  story  crowned  by 
an  arched  corbel  course,  the  whole  termi- 
nated by  a  low  domical  roof.  The  entire 
walls  of  the  building  are  of  white  mar- 
ble with  stripes  of  dark  limestone.  The 
stripes  are  omitted  in  the  octagonal  por- 
tion of  the  tower.  The  interior  is  ex- 
tremely simi)le,  its  square  being  quite  un- 
divided and  covered  by  a  wooden  roof. 
The  three  apses  are  roofed  by  semi-domes, 
and  above  these  on  either  side  is  a  trifo- 
rium  of  seven  arches.  The  interior  walls 
have  been  decorated  with  paintings  in  dis- 
temper, now  nearlv  obliterated. 
GUBBIO  (anc.  Iguvium),  Italy. 

The  Palazzo  dei  Coxsoli,  called  also 
the  Palazzo  del  Commune,  -stands  pictu- 
resquely opposite  the  Municipal  Palace, 
at  the  west  end  of  the  public  square  which, 
open  to  the  south,  is  terraced  up  from  the 
steep  side  of  Monte  Calvo.  It  is  like  the 
Tuscan  municipal  palaces  in  character,  a 
high  bold  mass,  its  front  only  broken  by 
broad  pilasters  and  sparingly  pierced  by 
coupled  round-arched  windows,  the  whole 
building  crowned  by  an  arcaded  cornice 
and  great  square  battlements.  The  south 
front,  advancing  down  hill,  is  j)ro2qied 
up  on  a  tall  pointed  arcade  and  ends  in 
an  open  loggia  of  coupled  round  arches — 
apparently  an  addition — below  the  main 
cornice,  from  which  on  the  angle  rises  a 
square  bell  -  tower  battlemented   like  the 


169 


llAiilOS 


rest.  Th(>  palace-  was  built  in  13:3t*--Ki 
by  Matteo  di  (iiovaiioUo,  called  II  (Jatta- 
pouc.     {See  Fiff.  93.) 

The  ancient  Tiikatrk  is  now  excavated 
and   in    part  restored.     According  to  an 


pdM,*^, 


inscription,  it  was  Imilt  by  Un.  Satriiis 
Kufus,  at  a  cost  of  four  hundred  thousand 
sesterces,  for  the  purpose  of  celebrating 
in  it  the  triumph  of  Augustus.  It  is  esti- 
mated that  it  could  scat  sixteen  thousand 
spectators. 

IIAOIOS  I'llOKAS,  Lesbos,  .Egean  Sea. 
Temple  ok  Uioxysos  (Bacchus),  a 
small  Doric  structure  with  two  columns 
in  unfis,  on  a  height  above  the  sea.  The 
workmanship  dates  it  in  tlie  first  century 
B.C.  It  is  interesting  because  of  some  devi- 
ations from  the  normal  Doric,  which,  as 
they  occur  also  in  the  neighboring  though 
much  older  temple  of  Assos,  may  be  taken 
as  indications  of  a  local  development. 
Thus,  the  shafts  of  the  columns  have  but 
sixteen  channels,  and  notably  the  epistyle 
is  sculptured  with  figure-reliefs.  Epistyle 
and  ti'iglyph  -  frieze  are  fornuMJ  on  the 
same  block.  Tiie  site  of  tlie  tem[ili'  is  iiuw 
occupied  liv  a  chapel  of  St.   I'hokas. 


lIALICAKXASSrS   (I'.oiidnium),   ('aria, 
iVsia  Minor. 
Mal'soleu-M  or  tomb  of  Mausolus,  reck- 
oned in  antiquity  as  one  of  the  seven  won- 
ders of  the  world.     It  was  erected  by  his 
Q  u  e  e  n  Artemisia,  Xyl 
n.c,  under  the  direction 
of  the  architects  Satyros 
and  Pythis.  and  with  co- 
operation of  the  sculpt- 
ors Scopas,  and  2)ossibly 
i'raxiteles.     It  had  the 
form  of   a  peristyle   of 
iliirty-six    Ionic   col- 
umns, nine  on  the  fronts 
and  eleven  on  the  flanks, 
surmounted  by  a  jiyra- 
mid   of  t  wen  t  y  -  f  on  r 
stci)s.   crowned    by  a 
chariot  bearing  the  stat- 
ues of  Mausolus  and  Ar- 
(cniisia   in   a   (puidriga. 
'I'lie  columns  were  slen- 
der, very  tapering,  with 
I  u  enty-four  flutes.    The 
tondj  proper  was  in  tlie 
high  and  massive  basement.     'I'iie  frieze 
bore  reliefs,  the  cornice  had  dentils,  and 
the  cyma  was  ornamented  witii  anthemia 
and  lion-heads.  The  total  heiglit  was  about 
140  ft.,  and  the  material  wdiite  marble.   The 
remains  of  the  mausoleum  w-ere  in  great 
part  destroyed  in  1.552  by  the  Knights  of 
Rhodes,  wlio  used  its  materials  for  build- 
ing a  (castle.      .\  nundicr  of  its  reliefs  and 
the  statues  of  Ai'temisia  and  Mausolus  are 
now  ill  the  ]?ritish  Museum. 
liAM.MKII  (anc.  Amatha),  Palestine. 

KoMAN'  Baths,  in  great  renoW'ii  in  an- 
ti(|uitv  (111  acrount  nf  the  hot  springs 
they  utilized.  The  waters  are  still  in 
great  favor  with  tlie  Arabs.  There  are  im- ' 
p(M-t.-int  remains  of  halls  and  chambers 
witii  barrel-vaulting,  all  built  of  handsome' 
masoiiiT  in  liasalt. 
MASS.  Syria. 

T(i\li;   (11'    I  )i(ii;  i:n  i:s.  in  the   iiecro|iiilis, 
a    notabk'    inonuniciil    in    asiiiar    (jf    large 


no 


HATZOR 


l>I(icks.  Tlu'rc  are  two  stories.  Tlie  lower 
story  is  a  massive  cube  preeeded  l)v  a  jior- 
tieo,  upon  wliieli  opens  a  liaiulsonie  door 
formed  of  two  liiiiged  slabs  of  basalt  bear- 
ing in  relief  the  monogram  of  Christ. 
The  lintel  is  ornamented  with  acanthus 
leaves.  The  interior  is  ceiled  with  a  bar- 
rel-vault divided  into  two  bays  by  an  arch 
springing  froni  jjilasters.  Five  niches 
surround  the  walls,  each  holding  a  sar- 
cophagus. The  U2)per  story  consists  of 
a  chamber  which  was  originally  surround- 
ed by  a  colonnade  ;  it  also  contains  sar- 
cophagi. 
HATZOR  (?).  Galilee,  Palestine. 

ExTEXsivE  Remains  of  an  ancient 
city  of  CycloiDean  construction,  identified 
by  M.  de  Saulcy  as  the  Hatzor  of  iScript- 
uve.  In  the  middle  of  the  enclosure  is  a 
structure  nearly  ::iOO  ft.  square,  with  tow- 
ers or  projections  at  the  four  corners. 
The  masonry  is  in  unshapeil  and  very 
slightly  shaped  stones.  The  site  is  in- 
adequately exjjlored,  though  de  Saulcy 's 
account  is  confirmed  by  those  of  other 
travellers. 
IIAURAX.  Syria. 

The  district  called  the  Ilauran,  in 
central  Syria,  a  barren  region  within  a 
radius  of  perhaps  a  hundred  miles  south 
and  east  of  Damascus,  contains  abundant 
remains  of  an  ancient  architecture  so 
unique,  and  so  comijacted  in  a  great  num- 
ber of  small  villages  near  together,  that  it 
is  natural  to  describe  it  here  under  a  single 
title.  It  all  dates  from  the  early  Christian 
centuries,  up  to  the  ilohammedan  inva- 
sions in  the  vii,  its  chronology  being  fixed 
by  inscriptions.  The  country  is,  and  was, 
bare  of  wood,  and  the  buildings  are  ac- 
cordingly entirely  of  stone,  even  to  the 
roofs,  floors,  doors,  and  window-shutters. 
The  stone,  a  volcanic  dolerite,  is  cut  with 
great  precision,  and  laid  without  mortar, 
in  blocks  and  slabs  ;  the  round  arch  and 
lintel  are  used  freely  in  combination  ;  the 
carved  ornament,  which  is  lavish  and 
finely  wrought,  sliows  a  progressive  devel- 


opment Trom  a  ftreco-Roman  to  a  Bvzau- 
tine  character,  almost  Romanesque.  The 
houses  are  floored  and  roofed  with  slabs  of 
stone  ;  the  larger  rooms  are  spanned  by  a 
series  of  round  arches,  close  enough  to  give 
a  bearing  for  the  slabs,  which  are  8  ft.  or  9 
ft.  long.  Many  of  the  houses  are  jireserved 
uninjured,  and  are  ap])ropriated  by  the 
Arabs  as  dwellings.  They  are  almost  al- 
ways entered  through  courtyards,  and 
fronted  with  open  galleries  or  porticoes  of 
stone,  often  in  two  stories,  su2iportcd  by 
columns  or  pilasters  which  carry  lintels 
and  sometimes  arcades,  and  defended  in 
the  upper  stories  by  panelled  stone  para- 
pets. A  little  farther  north,  and  east  of 
Antioch,  is  another  district  which  contains 
an  architecture  almost  identical  with  that 
of  the  Hauran,  in  which,  however,  owing 
to  the  nearness  of  the  wooded  region  of  the 
Lebanon,  the  churches  and  larger  build- 
ings were  covered  with  wooden  roofs, 
either  galjled  or  lean-to.  The  churches 
in  both  these  districts  are  numerous  and 
interesting,  and  generally  accompanied  by 
conventual  buildings.  They  display  a  re- 
markable number  of  the  iieeuliarities  of 
plan  and  construction  that  were  after- 
ward developed  in  the  monastic  architec- 
ture of  Europe.  They  are  mostly  of 
uniform  type — three-aisled  basilicas  with- 
out transepts,  the  nave  and  aisles  sei)arated 
by  arcades,  usually  on  columns,  carrying 
a  clerestory.  In  only  one  instance,  the 
small  basilica  at  Betursa  (given  by  De 
Yogiic).  the  columns  bear  lintels  instead 
of  arches.  An  open  colonnaded  jiorch  or 
narthex  fronts  them,  and  they  usually 
end  eastward  in  a  single  apse  with  win- 
dows, flanked  by  the  two  small  rooms 
which  in  tlic  Byzantine  churches  are 
known  as  the  diac.iinicon  and  protlicsis. 
The  round  apse  sometimes  projects  east- 
ward, and  is  sometimes  masked  by  a 
straight  wall.  Perhaps  the  cathedral  of 
Bozra  is  the  only  church  in  whidi  it  takes 
the  usual  Byzantine  form,  round  within 
and  polygonal  without.     There  is  another 


IIEBHOX 


type,  square  or  octagonal,  and  roofed  with 
domes  of  rubble  masonry,  carried  on 
siiuinches,  or  on  a  sort  of  pendentives 
rudels'  corhelled  out  from  the  corners, 
whii'h  [icrhaps  show  the  first  step  in  the 
development  of  the  regular  finished  By- 
zantinu  peudentive.  A  great  variety  of 
elaborate  tombs  is  scattered  over  the 
country,  in  a  great  variety  of  forms — 
hypogean,  rock -cut,  monolithic,  or  of 
finished  masonry  ;  and  in  the  shape  of 
subterranean  chambers,  obelisks,  cells, 
pyramidal,  gabled,  domed,  sometimes 
mere  trestles,  and  sometimes  complete 
temples  in.  anfis.  They  are  apt  to  be  the 
earliest  structures  in  date,  and  the  most 
classic  in  style.  All  the  buildings,  except 
a  few  of  the  earliest,  bear  the  marks  of  a 
Christian  origin  in  symbols  and  inscrip- 
tions. Many  are  dated,  and  some  show 
even  the  names  of  their  owners  and  build- 
ers. (See  Baknsa,  Bozra,  Ezra,  Kalat 
Siman.  Kidb  Luzeh,  Kanawat,  Mujelia. 
L'ltirrihii.  Sli(ikk-((,  Siii/i,  Siiiceiia,  Tafka, 
Tiiriiianin.) 
HEBRON.  Palestine. 

The  GiiK.VT  Mosque  is  a  building  of 
groat  sanctity  for  ^loslems.  They  believe 
it  to  cover  tiie  C'ave  of  Machpelah.  iu 
whic-h  Aljraham  was  buried.  It  has  a 
massive  enclosing  wall,  built  of  very  large 
stones  with  drafted  jambs,  like  the  walls 
of  tiie  llaram  at  .Jerusalem,  and  probably 
tlu'  work  (if  the  .lews.  This  wall,  wliicli 
is  over  .")()  ft.  high,  witii  no  openings  but 
two  doors,  and  is  broken  only  by  a  series 
of  ))ilaster-like  buttresses,  encloses  a  quad- 
rangle about  100  ft.  by  300  ft.,  with  tlie 
long  axis  north  and  south.  Upnu  it  the 
Arabs  have  built  an  additional  story,  and 
minarets  at  tlie  corners.  The  south  end 
of  tiu'  ar-ca  is  occupied  by  a  church,  or 
other  Iniilding.  in  the  style  of  the  Cru- 
saders. It  consists  of  three  aisles  of  three 
bays  each,  covered  with  groined  vaulting 
on  pointed  arches,  but  it  has  no  apses,  nor 
other  indication  of  the  arrangement  of  a 
Christian  cluirdi  ul'    its  jieriod.  while  in 


the  soutJi  wall,  toward  Mecca,  is  the  usual 
iiii/ini/i.  or  Mohammedan  prayer-niche. 
Several  later  chambers  have  been  built 
about  the  enclosure,  and  in  them  anil  in 
the  nios<pie  are  seen  the  tombs  of  Abra- 
ham's family.  A  hole  in  the  fioor  of  the 
mos(pie  is  the  opfuing  to  the  cave  below. 
The  tradition  of  the  Imrial  here  of  the 
patriarchs  is  very  old.  Joseplius  men- 
tions their  monuments  wrought  in  mar- 
ble; the  Bordeaux  Pilgrim  in  the  iv  cent, 
describes  the  outer  wall  substantially  as  it 
still  appears.  The  calif  Ibu  Kalun  is 
said  to  have  lined  the  walls  of  the  mosque 
with  marble  and  built  the  outside  addi- 
tions in  1331.  but  there  is  no  account  of 
the  origin  of  the  earlier  work.  The  rigid 
exclusion  of  Christians  from  the  enclosure 
has  prevented  a  complete  knowledge  of 
the  building. 

HELIOPOLIS.     See  Baalbek. 
IIERCULANEUM,  Italy. 

Basilica,  on  the  street  north  of  the 
theatre.  It  was  228  ft.  long  and  i:52  ft. 
wide,  with  a  peristyle  of  forty-two  col- 
umns, and  was  ornamented  with  mural 
paintings.  It  is  now  difficult  to  study 
satisfactorily,  as  its  remains  have  long 
been  neglected. 

IIoi'SK  OF  Ai{(irs,  so  named  from  the 
subject  of  a  mural  painting  founil  in  the 
triclinium.  The  plan  is  of  the  type  of 
the  most  elegant  houses  of  Pompeii.  At 
the  entrance  is  a  vestibule  with  two  long 
benches,  and  two  stuccoed  pilasters  to  sup- 
l)ort  the  roof.  There  are  two  garden- 
courts  with  peristyles;  the  second  of  these 
had  twenty  columns  and  six  piers,  and 
lioth  had  ricli  capitals  formed  in  wliite 
stucco.  Tpon  the  peristyles  open  the 
usual  rooms,  summer  and  winter  dining- 
rooms,  exedras,  tabnlarium,  etc.  The 
painted  ornament  is  of  excellent  taste  and 
execution  ;  it  includes  architectonic  ih'- 
signs  on  a  red  or  a  black  ground,  and 
marine  views.  There  is  aLso  some  good 
relief-decoration  in  stucco,  besides  several 
jiavenieuts  in  mosaic. 


HIERAPOLIS 


TiiEATKE.  ill  excellent  j'reservation, 
but  dittirult  to  see  sutisfactorily  owing  to 
its  being  underground  and  to  the  presence 
of  many  piers  serving  to  sustain  the  town, 
nearly  'JU  ft.  above.  It  lias  sixteen  tiers 
of  seats,  divided  into  six  ciinei  or  wedge- 
shaped  divisions  by  seven  radial  flights  of 
stairs.  Above  these  seats  is  a  wide  pre- 
cinction  or  jnissage,  and  above  this  again 
a  portico,  originally  encrusted  with  white 
marble,  and  tliree  more  tiers  of  seats. 
Below  the  ordinary  seats  are  five  wide 
steps  for  seats  of  honor,  immediately  sur- 
rounding the  orchestra.  The  orchestra 
was  paved  with  thick  slabs  of  giallo  antico. 
The  stage,  raised  about  4  ft.,  is  about  79 
ft.  long  and  39|  ft.  deep,  with  three  dooi's 
ojiening  in  the  back  wall,  the  central  one 
in  a  semicircular  recess.  It  is  estimated 
tiiat  the  cavea  could  seat  ten  thousand 
people.  The  theatre  and  Herculaneum  it- 
self were  discovered  accidentally  in  1709, 
by  the  sinking  of  a  well,  which  brought 
to  light  fragments  of  colored  marbles,  mo- 
saics, and  sculptures.  But  little  excava- 
tion, however,  apart  from  desultory  efforts 
to  secure  plunder,  was  conducted  until 
the  beginning  of  the  present  century. 

Among  the  other  chief  ruins  of  Hercu- 
laneum, are  those  of  the  so-called  House 
of  Aristides,  wliere  was  found  the  ^5ilschi- 
nes  statue  of  the  Naples  Museum,  orig- 
inally identified  as  Aristides,  the  Forum, 
temples  to  the  Mother  of  the  Gods  and  to 
Hercules,  a  prison  of  three  stories,  and  a 
round -arcaded  magazine  built  of  brick  in 
horizontal  courses  and  opus  reticulatum. 
HIERAPOLIS  (Pambouk  Kalessi),  Phry- 
gia,  Asia  Minor. 

MoxuMEXTAL  STREET,  extending  in  a 
straight  line  out  from  the  north  gate  of 
the  city.  It  was  bordered  on  both  sides 
by  long  stoas  or  porticoes  formed  of  Doric 
semi-columns  engaged  in  rectangular  jiil- 
lars,  and  terminates  in  a  triumphal  arch 
or  gate,  with  three  arched  openings  be- 
tween two  massive  round  towers.  The 
architrave   of   this  gate  bears  an  inscrip- 


tion in  honor  of  Septimius  Severus  (193- 
211  X.U.). 

Theatre,  toward  tlie  east  side  of  the 
city,  of  Roman  date,  but  Greek  in  many 
details,  as  in  the  excess  of  its  plan  over  a 
semicircle.  The  cavea,  which  faces  west, 
rests  in  part  upon  a  side-hill,  and  in  part 
upon  vaults.  The  diameter  is  about  ;510 
ft.  ;  that  of  the  orchestra,  90  ft.  There 
were  nineteen  tiers  of  seats  below  the  dia- 
zoma,  or  horizontal  passage,  and  twenty- 
six  tiers  above  the  diazoma,  which  is  bor- 
dered above  by  a  podium.  There  are 
eight  Mimakes,  or  radial  stairways  in  the 
lower  division  of  the  cavea  ;  one  of  them 
subdivided  in  the  ujiper  division.  The 
cavea  was  surrounded  above  by  a  monu- 
mental colonnaded  gallery,  with  arches 
opposite  the  stairways  and  the  middle  of 
every  wedge  of  seats.  The  front  wall  of 
the  stage-structure  had  in  the  loAver  story 
five  doors  with  coujiled  columns,  and  in 
the  upper  story  niches  between  columns 
with  spiral  fluting,  and  a  frieze  and  other 
sculpture  of  good  execution.  Behind  the 
stage  was  a  hall  90  ft.  long  and  about  14 
ft.  wide,  with  a  range  of  columns  against 
tlie  back  wall  of  the  stage.  Tlie  stage- 
structure  had  i)rojectiug  wings  built  im- 
mediately against  the  extremities  of  the 
cavea.  The  material  is  a  hard,  marble- 
like stone. 

The  great  Theatre,  outside  the  city 
walls  on  the  north  side,  is  from  its  i^lan  un- 
doubtedly Greek,  though  it  is  much  ruined 
and  has  not  been  adequately  studied.  It 
rests  against  a  side-hill  facing  south  of 
west ;  the  cavea  is  divided  into  three  by 
two  precinctions  or  horizontal  passages. 
Tlie  diameter  is  about  540  ft.  ;  that  of 
the  orchestra,  about  124  ft. 

Therm.e,  two  buildings  forming  wings 
projected  at  right  angles  to  the  main 
structure,  with  a  s]iacious  court  betM'een 
them.  On  the  side  facing  the  court,  these 
wings  were  open,  having  ranges  of  square 
pillars  with  Corinthian  capitals.  These 
structures  were  probably  waiting-rooms. 


173 


IIIKIIOX 


The  front  of  the  main  bnihling  was  a 
large  vanltcd  hall,  with  a  smaller  chamber 
at  each  end.  Behind  were  sjjacioiis  corri- 
dors, the  bathing-rooms  proper,  indicated 
by  water-conduits  still  in  place,  and  other 
halls  which  probably  served  for  gymnastic 
exercises  anil  similar  purposes. 

Walls  of  the  ancient  city,  surviving  in 
great  part,  with  several  gates,  and  recUm- 
guhir  towers.  Within  the  walls  are  re- 
mains of  two  basilicas  and  many  other 
edifices,  and  without  the  walls  is  a  third 
basilica  and  a  very  extensive  and  interest- 
ing necropolis.  Two  of  the  basilicas  aj)- 
pear  to  be  Christian  ;  the  third  is  more 
ancient. 

HIEROX    PKOMUXTOIIY.     See   Ana- 
toli Kavak. 
HISSARLIK.     See  Ilion. 
nOSN    SULEIMAN   (anc.  Bjetocece  ?), 
Syria. 

Sanctuary,  probably  of  Jupiter.  The 
temenos.  or  sacred  enclosure,  measures 
about  293  ft.  by  G13  ft.,  and  is  built  in 
part  of  enormous  blocks,  some  of  them 
reaching  the  size  of  29  ft.  by  10  ft.  by  3| 
ft.  In  the  middle  of  each  side  is  a  gate 
of  the  pylon  type,  all  with  gigantic  mono- 
lithic lintels.  The  soffits  of  the  lintels 
bear  each  an  eagle  holding  a  caduceus,  be- 
tween two  genii.  The  doors  are  flanked 
by  niches,  and  carved  with  victories,  tela- 
mones,  and  elegant  mouldings.  An  in- 
scription on  the  chief  gate,  that  toward  the 
north,  applies  to  a  date  between  253  and 
259  A.I).  In  the  middle  is  a  small  pseudo- 
peripteral  Ionic  temple,  which  appears 
never  to  have  been  completed.  In  front 
of  it  stands  an  altar.  Without  the  en- 
closure, on  the  north,  rises  a  large  group 
of  buildings,  including  a  small  temple  i)i 
(f)ifis,  called  by  the  Arabs  ed-Deir. 
lADERA.  See  Zara. 
lASOS  (Asin  Kalessi).  Asia  :\Iiiior. 

The  remains  include  the  fortifications 
of  the  old  city,  which  covered  a  large  area, 
and  those  of  the  small  new  city,  occupying 
an   island,   now  a    peninsula,   which    may 


well  have  Ihmmi  tlio  original  acropolis. 
The  walls  ot  the  nld  city  arc  of  rough 
coursed  masonry.  These  walls  are  pecul- 
iar in  that  they  arc  pierced  with  a  very 
large  number  of  posterns  and  windows, 
evidently  intended  to  jirovide  for  a  very 
aggressive  defence  in  case  of  siege.  There 
is  a  number  of  semicircular  towers,  and 
a  few  of  rectangular  plan.  The  walls 
may  be  dated  by  analogy  from  about  tlie 
last  quarter  of  the  v  century  r..c.  The 
walls  of  the  new  city  are  of  much  more 
careful  masonry,  with  rustic  face,  and  a 
draught  at  the  angles  of  towers,  etc. 
There  arc  towers,  both  sqtiare  and  semi- 
circular in  plan,  and  a  well  -  fortified 
gate.  These  walls  may  date  from  the 
middle  of  the  iv  cent.  n.c.  or  even  later  ; 
they  consist,  as  is  usual,  of  an  outer  and 
an  inner  facing,  with  a  filling  of  rubble. 
The  theatre  in  the  new  city  is  well  ])re- 
served  ;  its  masonry  is  in  great  part  of 
the  same  character  as  that  of  the  fortifi- 
cations ;  there  are  remains  of  the  stage- 
structure.  A  Roman  aqueduct  of  some 
extent  lies  outside  the  walls. 

Pal.t.stka,  adjoining  the  stadium.  The 
plan  is  rectangular.  2(;9  ft.  by  121  ft.  It 
consisted  of  two  rectangular  buildings, 
one  at  each  end.  each  divided  into  three 
halls,  connected  by  two  colonnades,  one 
on  each  side.  The  enclosed  court  was  the 
pahvstra  jiroper.  An  inscription  on  the 
wall  of  the  west  building  shows  that  both 
end  buildings  were  dedicated  by  one 
Diodes  to  Artemis  Astias  an<l  the  cm- 
jieror  Commoilns. 

Ttieatke.  on  the  toji  of  a  hill,  of  the 
IV  oi-  v  (x'litury  i;.'.  In  plan  it  is  near- 
ly semicircular  ;  the  exterior  diameter  is 
24(i  ft.,  that  of  the  orchestra.  75  ft.  Of 
the  seats  sixteen  tiers  remain  with  por- 
tions of  others.  They  are  of  white  mar- 
ble, sculptured  with  lions"  paws.  The  ex- 
terior wall  of  the  cavea  is  of  large  squared 
stones,  laid  without  mortar  ;  the  wall  of 
the  stage-structure  is  of  smaller  stones  and 
a)i]icars  to  be  a  later  construction. 


icuviujr 


IGUVIUM.     See  Uubbio. 
ILION,  Ti-oad.  Asia  Minor. 

The  remains  investigated  b}'  Dr.  Sclilie- 
niann  since  18T2  are  included  in  an  acrop- 
olis of  very  small  extent,  at  Hissarlik, 
which  was  a  seat  of  settlement  from  re- 
mote ages  through  classical  times.  The 
city  in  the  plain  below  has  disapiDeared, 
leaving  but  very  slight  traces.  The  set- 
tlements of  succeeding  ages  are  marked  on 
the  aci'ojjolis  by  superimposed  strata  of 
ruins  and  debris.  According  to  the  lat- 
est study,  while  the  lowest  layer  rejireseuts 
the  most  aiicieut  city  and  goes  back  to  a 
very  remote  antiquity,  the  second  layer 
displays  a  state  of  civilization  correspond- 
ing to  that  pictured  in  Homer,  and  agrees, 
though  more  ancient  and  primitive,  with 
the  remains  found  at  Mycenaj  and  Tiryns. 
jSiext  above  come  several  layers  evidently 
jjroduced  by  rude  and  poor  village-settle- 
ments, continuing  the  civilization  of  the 
preceding  layer.  And  finally  we  have  the 
remains  of  the  historic  Gra?co-Roman  city 
of  Ilion.  The  citadel  of  the  lowest  stratum 
is  only  1.50  ft.  wide,  with  walls  of  I'ougli 
stones  abont  8  ft.  thick  enclosing  rough 
house-walls  of  small  stones  bonded  and 
coated  with  clay.  The  second  city,  or 
Homeric  Troy,  has  a  massive  citadel  wall, 
consisting  of  a  revetted  stone  substructure, 
inclined  on  the  exterior  at  an  angle  of 
forty-five  degrees,  and  13  ft.  broad  on  top. 
This  foundation  was  originally  crowned 
with  a  wall  of  unburned  bricks,  strength- 
ened with  wooden  beams  built  in.  Several 
gateways  and  towers  are  visible,  the  for- 
mer planned  closely  in  the  way  afterward 
followed  by  the  Hellenic  military  en- 
gineers. Within  the  citadel  are  remains 
of  a  palace,  of  similar  plan  to  that  at  Tir- 
yns, but  simpler.  The  walls  have  a  sub- 
structure of  stone,  the  upper  portion  being 
of  unburned  bricks.  There  is  plain  evi- 
dence tliat  this  city  was  destroyed  by  a 
great  fire.  The  most  important  of  the 
finds  in  this  stratum  is  the  so-called  Great 
Treasure,    now   in    the    Berlin    Museum, 


It  includes  diadems,  chains,  earrings, 
bracelets,  and  cups  of  gold,  vases  and  bars 
of  silver,  jars,  and  various  weapons  of  cop- 
per. The  decoration  of  a  few  of  the  orna- 
ments is  more  advanced  than  that  of  the 
others,  and  of  a  similar  character  to  that 
from  Mycenaj.  The  pottery  is  much 
ruder  than  that  from  Myceuit.  The 
third,  or  village-settlement,  displays  very 
rough  walls  of  inferior  masonry,  belong- 
ing to  very  small  buildings.  Tlie  fourth, 
or  Grieco- Roman  citadel,  shows  walls  of 
regular,  well -jointed  ashlar,  and  scanty 
remains  of  two  Doric  temples.  From  one 
of  these  comes  the  well  -  known  metope 
sculptured  with  Helios  urging  on  his  four 
horses.  Coins,  abundant  remains  of  pot- 
tery of  dilferent  dates,  inscriptions,  and 
all  the  usual  remains  of  the  later  civiliza- 
tion have  lieen  found,  together  with  an 
elaborate  Roman  gateway,  with  a  vesti- 
l)ule,  three  doors  with  Corinthian  semi- 
columns,  and  an  outer  portico  of  four 
Doric  columns,  to  whicli  probablv  corre- 
sponded an  inner  portico  of  two  columns 
ill  ant  is. 
IXTERAMNA,  Pirenum,  Italy.    Si'c  Tcr- 

a/iio. 
INTERAilXA,  Umbria,  Italy.     See  Ter- 

II  i. 
IRBID.     See  Arbela. 
ISERXIA  (anc.  .Esernia).  Italy. 

The  massive  walls  in  polygonal  masonry 
of  the  ancient  town  serve  as  the  founda- 
tions of  the  modern  walls  almost  through- 
out the  circuit,  and  possess  much  inher- 
ent interest.  The  most  curious  survival 
from  antiquity,  however,  is  the  long  rock- 
hewn  aqneduct  which  begins  at  the 
bridge  on  the  side  toward  Solmona.  It 
has  six  air-shafts,  the  largest  of  them  83 
ft.  deep.  This  aqueduct  still  su23j:)lies  the 
fountains  and  factories  of  the  modern 
town. 
ISTHMIAN   SANCTUARY,    Corinthia, 

Greece. 
Temple  of  Poseioon   (Xeptune).     It 
was  apj)roached  from  the  side  of  the  thea- 


175 


IZXTK 


tre  aiul  stadium  by  an  avenue  adorned  on 
one  side  by  a  row  of  2)ine-trees,,  and  on 
the  other  by  statues  of  victors  in  the  Isth- 
mian Games.  The  temple  was  of  only 
moderate  size,  but  was  richly  endowed 
witli  works  of  art.  On  the  exterior  were 
tritous  of  bronze,  and  in  the  pronaos 
two  statues  of  Poseidon  and  others  of 
Aiiii)hitrite  and  of  Tlialassa  (the  Sea) — all 
ol'  bronze.  The  sculptures  in  the  cella 
were  dedicated  by  Herodes  Atticus,  and 
included  four  horses  held  by  two  tritons, 
and  chryselephantine  statues  of  Poseidon 
and  Am])hitrite  standing  in  their  chariot. 
Tiiere  were  also  in  the  temple  statues  of 
other  maritime  and  local  divinities.  The 
Temple  was  of  Doric  order,  in  the  rough 
stone  of  tiie  Isthmus,  which  was  coated 
with  stucco  ami  painted.  The  remains 
of  columns  and  entablature  indicate  a 
date  of  about  the  middle  of  the  VI  century 
n.c.  Tlie  columns  had  only  sixteen  chan- 
nels, were  4  ft.  10  in.  in  diameter  at  the 
base,  diminishing  to  4  ft.  at  the  neck,  and 
about  20  ft.  high.  The  peribolos  of  the 
sanctuary  was  about  940  ft.  long  from 
S.W.  to  N.E.,  and  about  700  ft.  wide  at 
the  broadest  i)laee,  from  which  it  dimin- 
ished rapidly  in  width  toward  the  soiith, 
forming  in  plan  a  very  irregular  pentagon. 

Roman  Tuir.Mi'ir.vL  Auch  or  gateway 
on  the  N.E.  side  of  the  sanctuary.  It 
consisted  of  three  arched  passages,  the 
central  one,  for  vehicles,  about  13  ft.  wide, 
anil  the  two  on  the  sides  about  G  ft.  6  in. 
wide.  The  whole  witlth  of  the  monument 
is  aVjout  50  ft.  It  survives  to  a  lieight  of 
some  13  ft.,  and  the  paved  way  with  the 
deep  ruts  of  tlie  ancient  chariots,  still 
leads  through  the  widest  opening.  Tlie 
masonry  is  in  large  blocks,  laid  without 
cement,  ornamented  witli  mouldings,  and 
dating  aiipareiitly  froui  the  time  of  Au- 
gustus. 

1/A'Ilv.     Hee  JVic(Ba. 
.JKKASII.     See  Gernm. 
JEllUSALK^[.  Palestine. 

Apostles'  Caveux  so-called,  but  vari- 


ously identified,  in  the  Valley  of  Ilinnom. 
The  entrance  is  surmounted  by  a  frieze  of 
corrupt  Doric,  with  eight  metopes,  each 
with  a  patera  or  rosette  of  different  form 
from  tlie  others,  besides  arabescpies  and 
vine-]iatterns.  The  metopes  are  separated 
l)y  diglyplis  the  reguhe  beneath  which 
have  only  two  guttie.  There  are  several 
inner  chambers  with  benches  and  loculi 
for  sarcophagi.  Both  the  vestibule  and 
the  chambers  have  Byzantine  jjaintings 
on  the  ceilings  and  walls.  Here,  accord- 
ing to  a  tradition  of  the  xvi  cent.,  the 
apostles  concealed  themselves  during  tlie 
trial  and  crucifixion  of  Christ. 

Arch  of  Pilate.  See  JEcce  ILnno 
Arch. 

Chapel  op  the  Appakitios'.  See 
Vhurclt  of  the  Holy  Se^julvhre. 

Chapel  of  the  Ascex.siox,  a  small 
chapel  on  the  Mount  of  Olives,  com- 
memorating the  ascension  of  Christ — all 
that  remains  of  a  large  and  famous  church. 
It  is  an  octagon  of  about  21  ft.  diameter, 
composed  of  eight  pointe<l  arches,  once 
open,  now  blocked.  The  (U'iginal  columns 
engaged  in  the  piers,  and  the  corbelled 
cornice,  are  clearlj'  Romanesque,  the 
iliiiiii  and  tlie  dome  that  surmount  them 
are  later  Arabic  work.  Although  St. 
Luke's  Gospel  declares  that  the  Ascension 
took  place  at  Bethany,  Eusebius  says  that 
Constantine  commemorated  it  by  n  large 
and  splendid  church  on  the  to]>  of  the 
Mount.  St.  Jerome  says  that  it  was  a, 
great  roiuid  church,  of  which  the  centre 
had  to  be  left  open  to  the  sky,  because  the 
Lord's  body  had  p;issed  there,  and  that  his 
last  footprint  (which  is  still  sliowii)  was 
marked  in  the  ground.  The  original 
building  was  destroyed  by  the  Persian 
Chosroes  (014),  and  rebuilt  or  rejilaced 
by  Modestiis.  Tlie  ])resent  chapel  is 
doubllcss  a  Fragment  of  a  large  octagonal 
church  built  by  thi>  Crusaders, from  wliich 
live  bases  of  clustered  angle-piers  still  re- 
main in  position,  built  into  walls  with 
which  the  later  Moslems  have  enclosed  a 


JEKTSALEM 


court,  makiiis  a  iiiosqiie.  The  various 
Christian  Churches  are  still  allowed  to 
worship  in  it,  and  have  each  an  altar  or 
niche  there. 

Chapel  of  the  Ckoss.     See  Clnirch  nf 
fill'  HoJij  Sqjiilr/iro. 

Chapel  op  St.  Helexa.     See  C/nirr/i 
of  the  Holy  Sepulchre. 

The  Church  of  St.  Axxe,  adjoining  the 
N.  E.  corner  of  the  terrace  of  the  Temple, 
keeps  its  original  form  more  completel}' 
than  any  other  building  of  the  Crusaders  in 
the  Holy  Land.  It  is  a  small  church,  G3  ft. 
by  110  ft.  within,  consisting  of  a  nave  and 
aisles  of  three  bav's,  choir,  and  transept, 
with  three  eastern  apses  side  by  side. 
Over  the  crossing  is  a  pointed  dome.  The 
plan  of  the  church  is  distinctly  western  in 
character,  its  execution  shows  IJyzantine 
and  Syrian  influences.  The  nave,  28  ft. 
wide,  has  square  bays  ;  it  and  the  aisles 
have  2ilain  groined  vaulting  with  only 
cross-ribs  :  the  vault  of  the  transept  is  a 
transverse  pointed  wagon-vault.  The  piers 
are  cruciform  groups  of  pilasters,  there 
being  no  round  shafts  anywhere  except  in 
the  jambs  of  the  principal  window  ;  there 
are  scarcely  any  capitals,  and  the  inside  is 
severely  pl;iin.  The  apses  are  Byzantine 
in  form,  round  within  and  octagonal  with- 
out, the  dome  probably  Saracenic.  The 
high-placed  windows  of  the  aisles  and  the 
clerestory  windows  of  the  nave  are  point- 
ed. The  exterior  is  very  plain,  except  the 
east  front,  which  has  a  single  doorway  and 
over  it  a  clerestory  window,  both  with  en- 
riched moulded  archivolts,  the  window 
with  Corinthian  nook-shafts  in  the  jambs. 
All  the  roofs  are  flat  and  the  walls  with- 
out cornice  or  parapet,  broken  by  plain 
buttresses  which  run  to  the  top.  In  this 
building,  as  in  other  buildings  of  the 
Crusaders,  the  pointed  arch  is  used  syste- 
matically and  exclusively,  as  it  was  not  at 
that  time  yet  used  in  Europe  ;  the  form 
of  the  arch  is  broader  and  lower  and  more 
Saracenic  than  was  common  in  Europe, 
but  the  carving  and  moulding,  so  far  as  it 


goes,  is  altogether  Byzantine-Romanesque, 
There  is  reconl  of  a  Christian  church 
and  convent  here  as  early  as  the  vii  cen- 
tury. But  it  was  not  till  the  repudiated 
wife  of  Baldwin  1.  took  refuge  in  it  (110-i) 
that  the  convent  became  important.  From 
that  period  doubtless  dates  this  present 
church.  ^\Jter  the  ex^julsion  of  the 
Latins,  Saladin  established  a  school  in  it. 
and  so  it  was  jireserved  by  the  Mussulmans 
till,  in  185U,  after  the  Crimean  War,  the 
Sultan  Abdul  Mejid  gave  it  to  the  Emj)er- 
or  Xapoleon  III.  Since  then  it  has  been 
in  the  hands  of  the  French,  by  whom  it 
has  been  restored.  Under  the  church  and 
entered  from  the  south  aisle  is  a  ramb- 
ling crypt,  which,  according  to  the  tradi- 
tion, was  part  of  the  house  of  St.  Anne 
and  birthplace  of  the  Virgin. 

The  Church  of  the  Holy  Sepulchre 
lies  west  of  the  platform  of  the  former 
Jewish  temple,  outside  of  what  was  prob- 
ably the  Jewish  wall,  and  so  enclosed  in 
newer  buildings  that  nothing  is  seen  but 
its  entrance,  its  two  domes,  and  the  stump 
of  the  XII  cent,  tower.  It  is  entered 
through  the  south  transept  [see  Fig.  OS), 
the  front  of  wiiieh  is  the  only  exposed 
part  of  the  building,  forming  the  back  of 
a  fore-court  or  pan-is  about  60  ft.  wide  by 
80  ft.  deep.  The  plain  buildings  each 
side  the  court  contain  a  variety  of  small 
chapels  and  rooms  divided  among  the 
churches  which  share  the  possession  of  the 
Holy  Sepulchre — the  Greek,  Latin,  Cop- 
tic, and  Armenian.  The  transept  front, 
the  work  of  the  Crusaders  in  the  xii 
cent.,  is  a  squarish  mass  in  two  stories, 
with  a  doulile  doorway  below  correspond- 
ing to  two  coupled  windows  above.  The 
openings  are  low-pointed,  with  broadly 
moulded  archivolts  and  triple  jamb-shafts, 
enriched  hood  -  mouldings,  and  string- 
courses. The  tympana  of  the  doorways 
are  solid  and  carried  on  sculptured  lintels. 
The  style  is  a  mixture  of  early  French 
pointed  and  Byzantine.  At  the  right  of 
the  doorways  is  a  little  square  projecting 

177 


JEKUSALE-M 


ch!i2)el,  of  the  same  age  and  style,  iu  two  or  detaclied  chapel  iiusymmetrically  placed 
stories,  with  outside  steps  aud  a  small  behind  the  choir  (eastward).  The  nave  is 
later  dome  ;  on  the  left,  likewise  advanc-     rclmilt  on  the  foundations,  and  probably 

ill!  hides  the  walls,  of  the  old  nave  burned 
(lul   ill  1808.     It  is  a  rotunda  68  ft.  in 
diameter,  called  the  Anastasis,  suj)ported 
on  eighteen  close-set  jjiers  and  covered 
by  a  dome.     The  piers  are  faced  with  a 
huge  debased  order  of  composite  pilasters 
with  2)edestals  and  entablature  support- 
ing a  flat  dome,  which  has  an  ojjcn  cen- 
tre  or  eye  and  its  base  jiierced  by  lu- 
nettes.   The  surrounding  aisle  is  in  thii-c 
stories,  with   balustraded  openings  into 
the  nave,  like  theatre  boxes.    Under  the 
middle  of  tiie  dome  stands  the  chapel  of 
the    Sepulchre  itself,  a   little    building 
Slime  r.Ti  ft.  by  18  ft.,  with  a  square  east 
fi-diit  \\iiere  the  door  is,  and  an  apsidal 
end    at   the    west,   within  which  is  the 
sepidehral    chamber.     This   chapel,   re- 
liuiit  at  tile  same  timi' with  the  mtunda, 
is  decorated  with  a  degraded  Corinthian 
iii'der,  with  miieli  panelling  of  rich  mar- 
liles.  and  eiirielied  within  and  without 
ill    i-dcoco   style.     Over   the   seimlchral 
(  liaiiilier  is  a  little  liussian-looking  cu- 
]i(ila.       'i'lie    choir   and    transept,  about 
40  ft.  wide,  built   liy  the  Crusaders  and 
now  possessed  by  the  (ireek  Church,  were 
much  less  injured  by  the  fire  tlian  the 
rotunda,   and    retain    in  a  great  degree 
their  original  form,  in  s])iti'  of  many  mod- 
ern incumbrances.    They  make  three  arms 
of  a  cross,  prolonged  at  the  head  in  a  semi- 
circular apse  which    is   surrounded  by  a 
triluine  of  seats  fdi-  tlii'  presbyters,  rising 
in  tiers  and  covered  by  a  semidome.     Over 
tlie  crossing  is  a  hemisphericid  dome  on 
a  high  drum,  earrietl  on  pendentives  and 
liiereed  by  an  encircling  gallery  with  outer 
wiiulows  and  an   inner  arcade.     But  this 
general  disposition    is   much  obscured  to 
the  eye,  the  main  arches  to  the  transept 
and    I  he    aisles    l)eing    bhieked    by    walls 
against  which  are  built  the  modern  stalls 
for  the  clergy.     'I'he  choir  thus  enclosed, 
and  called  the  Catholieon,  is  about  100  ft. 


Fig   93. — Jerusalem    Ch.  of  Holy   Sepulchre,  Transept 

iiig.  are  three  stories  of  a  s(|uare  buttressed 
bell -tower,  evidently  a  little  later  than 
the  front,  with  coupled  windows  in  the 
np])er  story,  above  which  a])pear  the  low- 
er eiiurses  lit  the  destroyed  belfry  stage. 
Tile  interior  is  very  intrii^ate,  not  only 
comprising  three  churches,  or  jiarts  of 
churches  of  different  periods,  but  confused 
by  the  effort  to  cover  in  one  liuilding 
many  scattered  shrines,  and  to  include  the 
various  sanctuaries  of  the  five  ancient 
Churches  which  claim  each  a  share  in  it. 
The  buildijig  really  consists  of  a  circular 
nave,  covering  the  sepulchre  it.self,  a  choir 
and  transept,  irregularly  built  about  with 
many  small   chapels,   and  a  small  church 


jerusa]j:m 


long.  It  belongs  to  the  (iroek  Cliuivh  cx- 
clus:ively,  and  the  ajjsidal  end,  with  lialf 
tlie  bay  beyond  the  crossing,  is  cut  off 
by  a  huge  iconosfasi.'i  or  screen,  after  the 
tireek  manner,  to  separate  the  sanctuary 
from  the  rest.  All  the  main  arches  here 
are  pointed,  as  well  as  the  vaults,  but  tlie 
gallery  arcade  at  the  base  of  the  dome 
and  a  similar  arcade  round  the  second 
story  of  the  apse  are  I'ound-arched.  The 
aisles  also  are  two-storied,  tlie  sjjacious 
upj)cr  aisle,  indeed,  running  round  the 
whole  church  and  containing  several 
chapels.  The  aisle  returns  across  the 
ends  of  the  transept,  cutting  olf  at  the 
south  the  last  bay,  the  lower  story  of 
which  serves  as  the  entrance  porch.  It  is 
of  very  irregular  width,  being  encroached 
upon  l)y  the  various  sjjecial  chapels  at 
many  points.  In  the  S.  E.  angle  of  the 
choir  and  transept  is  a  group  of  chapels 
in  two  stories  covering  what  is  considered 
to  be  the  site  of  Calvary,  comprising  tlie 
Chajjel  of  the  Raising  of  the  Cross,  of  tlie 
Crucifixion,  and  others,  which  crowd  con- 
siderably upon  the  transept.  The  lower 
aisle  of  the  rotunda  also  is  broken  up  into 
chambers,  the  central  one  of  which,  be- 
hind the  sepulchre,  expands  into  a  chapel 
belonging  to  the  Syrian  Church  and  leads 
to  an  excavation  in  the  rock  of  the  l)ranch- 
iug  form  peculiar  to  ancient  Jewish  rock- 
tombs,  and  known  as  the  tomb  of  Josepli 
of  Arimathea.  Across  the  north  end  of 
the  transept  and  the  adjoining  aisle  lies  a 
long  gallery  whose  arcade,  called  the  Seven 
Arches  of  the  Virgin,  is  mostly  obliterated 
by  the  piers  of  the  church,  and  beyond 
this,  north  of  the  rotunda,  the  Chapel  of 
the  ApiJarition,  which,  like  the  gallery,  is 
part  of  the  oldest  constructions.  It  is  a 
plain,  square  building,  with  an  apse  and 
three  altars  in  its  eastern  wall,  and  serves 
as  chapel  to  the  adjoining  Latin  Francis- 
can monastery.  From  the  aisle  that  sur- 
rounds the  (eastern)  apse  of  the  Greek 
choir  open  three  I'adiating  apsidal  chapels, 
and  an  oblique  stairway  which  descends 


some  1(J  ft.  to  a  subterranean  chapel  dedi- 
cated to  St.  Helena,  mother  of  Constan- 
tine.      This  is  about  .50  ft.   square,   By- 
zantine  in    style,    the    oldest    and    most 
uiLspoiled  architecture  now  visible  in  the 
church.     It  is  divided  into  nine  bays,  the 
central  one  domed,  the  surrounding  ones 
vaulted,    and   is   preceded   by   a   narthex 
chiefly  occupied   liy   the  staircase.     Four 
columns,  low  and  very  massive,  with  vary- 
ing  bases   and    uniform   basket   capitals, 
support  pendentives  which  carry  the  dome, 
resting  on  a  drum.     The  drum,  pierced 
with  six  windows,  in  lunettes  which  are 
partially   blocked,    rises    with    its    dome 
through  the  pavement   of   the  courtyard 
of   tlie   Abyssinian   monastery   which  ad- 
joins tiie  church  —  the  only  part  of  the 
building  which  is  seen  from  without.     In 
the  middle  of  the  east  wall  is  the  main 
ajjse  and  altar  dedicated  to  the  saint  and 
empress,  on  its  left  an  altar  to  the  peni- 
tent thief,  and  on  its  right  a  second  stair- 
case descending  into  an  irregular  cavern, 
consecrated  as  the  place  where  Helena  dis- 
covered tlie  true  cross,  and  called  therefore 
the  Chapel  of  the  Invention  (discovery) 
of  the  Cross.     The  history  of  the  build- 
ings is  as  intricate  as  their  architecture. 
Archaeologists  have  not  even  been  agreed 
as  to  the   identity  of   the   site  ;   but   the 
general  consensus  of  scholars  has,  on  the 
whole,  accepted  it.    Hadrian,  we  are  told, 
wishing  to  obliterate  the  most  sacred  relic 
of  the  Christians,  levelled  up  the  site  of 
the  sepulchre  and  built  a  temple  upon  it 
to  Venus  or  to  Jupiter.     When  Constan- 
tine  had  established  the  Christian  Church, 
and    wislied    to    recover    the    sepulchre, 
Hadrian's  temple  was  his  landmark.     He 
recovered  it,   says  Eusebius,   and  finding 
the   sei^ulchre    unharmed   beneath,    built 
over  it  a  gorgeous  shrine,   to   which   he 
added  a  large   and   magnificent   basilica. 
Cyril  adds  that  he   cut  away  aljout   the 
sej^ulchre  the  rock  in  which  it  was  ex- 
cavated,  leaving  only  a  shell  to  enclose 
the   burial-chamber,  and   removing  even 


179 


.TKRFSAI.KM 


the  antechamber,  levelled  off  the  siir- 
rouiulino:  surface,  and  tlien  encased  the 
tonil)  in  inarlilcs.  The  Persians  under 
C'hosroes  11.,  assisted  by  fanatical  Jews, 
destroyed  and  bnried  the  buildings  in 
OU.  .Modestus,  afterward  iiatriarch  of 
Jerusalem,  immediately  set  to  work  to 
rebuild,  not  Constantino's  basilica,  but 
more  modest  buildings  over  the  separate 
holy  places.  These  were  again  destroyed 
in  1010  by  the  caliph  Hakim,  founder  of 
the  Druses.  Directly  afterward,  however, 
he  allowed  them  to  be  restored  by  the 
(J reek  emperors,  which  was  accomplished 
in  1048.  As  soon  as  the  Crusaders  wei'e 
fairly  established  in  Jerusalem,  it  was 
their  care  to  l)uild  or  to  rebuild  a  great 
church  which  should  embrace  all  the  iso- 
lated   shrines   that    clustered    about    tlie 


about  these — probably  remained  substan- 
tially unchanged  till  the  fire  of  1808. 
Before  this  fire  the  rotunda  was  carried 
on  twelve  round  columns  divided  into 
groups  by  2iairs  of  square  piers  at  the  cai- 
dinal  points,  with  three  stories  of  arcades 
as  at  present,  and  was  covered  by  a  wootl- 
en  conical  roof  open  in  the  centre,  which 
was  the  cause  of  the  damage  to  this  ])art 
of  the  church  from  the  fire.  Probalily 
mucli  of  the  old  masonry  is  imbedded  in 
the  i)resent  piers.  The  falling  of  the 
cupola  crushed  the  chapel  over  the  sepul- 
chre itself,  and  it  is  likely  that  not  much 
of  the  shell  of  the  burial  chamber  has  sur- 
vived this  and  the  previous  destructions, 
the  Moslems  under  ]Iai<im  having  made 
great  efforts — which  were  foiled  by  mira- 
cle, say  the  historians  of  the  church — to 


Fig.  94. — Jerusalem,  Church  of  the  Holy  Sepulchre,  Plan. 
Scale  of   100  feet. 


sepulchre.  'I'his  was  mostly  done  in  the 
first  half  of  the  xii  century.  The  church 
which  they  built — connecting  the  older 
rotunda  with  the  Chapel  of  St.  Helena, 
and  including  the  Calvary,  the  Stone  of 
Unction,  over  which  its  south  transept 
cxtenils,  and  the  various  chapels  wliich  lie 


destroy  it.  both  with  sledge-hammers  and 
with  fire.  But  De  N'ogiie  and  other  trav- 
ellers declare  that  parts  of  the  original 
rock  can  still  be  seen  between  the  marbles 
that  line  the  interior.  Tlie  literature  of 
the  building,  in  all  languages,  is  vei'y 
abundant,  and  the  thccirics  of  writers  are 


JERUSALEM 


nuniy.  .Mr.  Fergussoii  has  argued  tluit 
the  real  sepulchre  Ls  under  the  building 
commonly  known  as  the  Dome  of  the 
Rock,  or  the  Mosque  of  ()mar.  but  the 
weight  of  authority  is 
against  him.  ( Sec  Fii/s. 
H,  95.) 

Churches  of  St. 
Mary  L.vtix  and  St. 
Mary  Ma.ioi;.  See 
Ildspitdl. 

Church  of  the  Viu- 
Gi.v.  See  Tomb  (if  the 
Vinjiii. 

('iTAi)EL,  an  irregu- 
lar grouji  of  five  square 
towers,  c  o  m  m  o  n  1 3' 
called  tlie  City  of  Da- 
vid. 'Y\\e  substructions 
to  a  height  of  39  ft.  are 
Roman,  of  large  drafted 
blocks  with  rough  faces, 
inclined  at  an  angle  of 
about  forty-five  degrees.  Fig.  as.— j.- 

This  is  believed  to  be 
the  Hifjpicus  Tower  described  by  Jose- 
jDhus,  which  was  left  standing  by  Titus 
when  he  destroyed  Jerusalem.  The  ma- 
soni-y  is  evidently  of  about  the  Ilerodian 
time,  though  apparently  later  than  that  of 
the  Temple  walls. 

The  Dome  of  the  Rock  (Kubbet  es- 
Sakhra),  poi^ularly  Init  incorrectly  called 
the  Mosque  of  Omar  (see  El-Ahsa),  stands 
on  the  platform  which  encloses  the  sum- 
mit of  Mt.  iloriah  in  the  middle  of  the 
Temple  Terrace,  and  is  believed  to  occupy 
the  very  site  of  Solomon's  tensile.  Tlie 
platform,  about  450  ft.  by  500  ft.,  is 
reached  by  flights  of  steps  irregularly 
placed,  leading  to  gates  of  various  design, 
mostly  groups  of  pointed  arches  in  square 
bits  of  wall.  The  summit  of  the  hill  pro- 
trudes within  the  building  in  an  uneven 
rock  some  sixty  ft.  across  and  from  one  to 
five  ft.  high,  which  is  guarded  by  a  mar- 
ble screen  or  wall.  Round  this  is  a  cir- 
cular arcade  resting  on  heavy  sqixare  jiiers. 


with  twelve  intermediate  columns  in 
groups  of  three.  The  arcade  is  surround- 
ed by  two  aisles,  and  carries  a  high  tam- 
bour wliicli  rises  above  these  and  supports 


a  stilted  hemispherical  dome  about  80  ft. 
in  outside  diameter  and  110  ft.  or  more  to 
the  top.  The  inner  aisle  is  enclosed  l)y  an 
arcade  which  makes  an  octagon  of  1^4  ft. 
in  diameter,  with  piers  at  the  angles  and 
si.xteen  columns  or  piers  between — the 
outer  aisle  by  a  solid  wall  pierced  by 
pointed  windows.  Both  aisles  are  includ- 
ed under  the  same  rather  low,  lean-to 
roof  hidden  by  a  solid  parapet  :  so  that 
from  witliout  the  building  appears  as  a 
low,  flat-roofed  octagon  160  ft.  broad,  out 
of  the  middle  of  which  rises  a  low  drum 
carrying  a  high  dome.  But  its  mispro- 
portion  is  to  most  eyes  compensated  for 
by  the  splendor  of  the  coating  of  marble 
mosaic  and  glazed  tiles  which  covers  all 
the  exterior.  The  walls  of  the  outside 
octagon  are  divided  by  pilasters  into 
panels,  the  upjier  halves  of  which  are 
filled  with  pointed  windows,  except  in  the 
middle  of  each  cardinal  face,  where  a  pro- 
jecting  jjorch   covers   aji   entrance   door. 


181 


,jE];rsAM-:.M 


The  drum  of  tlie  dome  is  broken  by  tlie 
four  great  middle  piers,  which  are  con- 
tinued in  relief  up  to  its  cornice,  while 
groups  of  windows  between,  in  four.<. 
malco  a  clerestory.  The  decoration  of  the 
interior  is  extremely  rich  :  its  architect- 
ure is  peculiar,  and  lias  been  the  subject 
of  much  controversy.  Tlie  columns  are 
apparently  in  great  part  the  spoils  of 
other  Iniildings.  They  are  of  rich  mar- 
bles with  shafts,  capitals,  and  bases  of  un- 


the  dome  are  covered  witli  profuse  and 
splendid  ornament  of  late  date,  painted 
and  gilded,  while  tiie  windows  are  tilled 
witli  rich  stained  glass.  The  exposed  rock 
is  held  in  extreme  veneration  by  the  Mos- 
lems, who  see  on  it  the  footprints  of  Enoch 
and  of  Mohammed,  and  tlie  mark  of  the 
hand  of  the  angel  Gabriel.  Mo  place  ex- 
cept the  Kaaba  of  Mecca  is  so  sacred  for 
them  as  this  building,  and  till  very  re- 
cently no  Christian  had  been  allowed  to 


'pS 


_r.    _*■  ^      -• »-_ 


<    ^    i*. 


._-'*» 


equal  height  and  irregular  design,  but  all 
of  some  variation  of  classic  Corinthian 
or  Composite,  and  mostly  Byzantine  in 
chai'acter.  The  inner  arcade  is  of  arches 
very  slightly  pointed,  resting  directly  on 
the  capitals  and  stayed  by  a  slender  wood- 
en tie.  In  the  outer  arcade  the  columns 
carry  stilt-blocks,  across  wliich  lies  a  heavy 
continuous  beam  carved  into  a  semblance 
of  a  classic  entablature,  and  upon  this 
rest  the  arches,  which  are  round.  The 
interior  wall,  up  to  the  wooden  ceiling  of 
the  aisles,  is  clad  in  a  mosaic  casing  of 
colored  marbles  ;  above  this  the  drum  and 


set  foot  in  it.  A  cave,  apparently  natural, 
uiulerlies  a  part  of  the  rock,  entered  by 
stairs  under  the  dome,  and  a  small  per- 
foration in  its  roof  communicates  with 
the  air  above.  Here,  it  is  believed,  is  the 
Ja/il>i  per/x-yns.  the  ])ierced  rock,  to  which 
the  Jews  habitually  came,  to  anoint  it 
with  their  tears  and  ointments,  during  the 
interval  when  it  was  unclaimed  by  either 
C'liristiaii  or  Saracen.  .Much  argument 
has  l)een  s]ient  over  the  origin  of  the 
1  )omc  of  the  Rock.  The  popular  name  is 
clearly  misapplied  :  it  nowi.se  resembles  a 
mosfpie,  and  there  is  no  indieatiou   what- 

18S 


iKi;rsAi.KM 


ever  tluit  it  was  built  by  Omar.  Mr.  Fer- 
gusson  stands  alone  in  believing  that  it  is 
Coustantine's  Church  of  the  Holy  Sepul- 
chre :  the  materials  from  which  its  older 
parts  are  laboriously  pieced  together  seem 
to  be  distinctly  Byzantine.  Professor 
Sepp  sees  in  it  a  church  of  Sta.  Sotia  (the 
Holy  Wisdom)  built  by  Justinian  ;  the 
Arab  historians  and  traditions  unanimous- 
ly declare  it  to  have  been  built  by  Abd- 
el-Malek,  Omar's  successor.  It  is  proba- 
ble that  they  are  right,  and  that  he  built 
it,  about  (JUO,  out  of  the  sjjoils  of  older 
buildings,  and  by  the  hands  of  Byzantine 
workmen.  But  it  has  been  through  many 
alterations  :  the  dome,  destroyed  l)y  an 
earthquake,  was  rebuilt  in  lo2"2  ;  it  has 
since  been  again  rebuilt.  The  Templars, 
established  within  the  precinct  of  the  an- 
cient temple  (see  El-Aksu)  adopted  the 
round  form  of  the  Dome  of  the  Eoek 
for  the  churches,  called  temples,  which 
they  built  in  London  and  elsewhere  in  Eu- 
rojie,  and  many  churches  earlier  and  later, 
e.g.,  Charlemagne's  at  Aachen,  were  built 
in  like  imitation.  It  was  purified  and  em- 
bellished by  Saladin  after  the  Crusaders 
were  exijelled.  Soliman  the  ^lagnificent 
cased  it  in  marble  and  tiles  and  filled  its 
windows  with  sjilendid  glass.  Since  the 
first  Christians  were  allowed  to  enter  it, 
accurate  plans  have  been  made  by  the  Eng- 
lish Ordnance  Survey,  and  photographs 
taken  for  the  Palestine  Exploration  Fund. 
{See  Fig.  96.) 

ErcE  Homo  Ahih,  or  Arch  of  Pilate, 
spanning  the  Via  Dolorosa  or  Way  of  the 
Cross  at  the  convent  of  the  Sisters  of 
Zion,  in  which  building  one  side  of  the 
arch  is  engaged.  It  is  held  to  have  been 
a  lionian  triumphal  arch  of  the  time  of 
Hadrian,  and  has  been  very  greatly  ruined, 
restored,  and  more  or  less  remodelled.  It 
has  been  pointed  out  to  pilgrims,  since  the 
XV  cent.,  as  the  place  where  Pilate  ex- 
claimed :  Behold  the  ^Tan. 

El-Aksa.  This,  the  oldest  mosque  in 
the  world  after  that  built  by  Mahomet  at 


Mecca,  and  next  to  that  the  most  sacred, 
stands  on  the  southern  edge  of  the  terrace 
of  the  ancient  temple,  the  Haram  es-Sher- 
if.  It  is  substantially  a  rectangle  about 
2T0  ft.  long  and  180  ft.  wide,  and  has  been 
so  often  built  over  that  its  first  form  and 
transformations  are  hard  to  trace  ;  but  as 
it  stands  now  it  has  essentially  the  shape 
of  a  basilica  with  triple  aisles.  I'he  nave 
and  aisles  run  north  and  south,  in  order, 
as  an  old  Arab  historian  tells  us,  that  the 
mosque  might  front  toward  the  Dome  of 
the  Eock  (q.  r.)  ;  the  transept  skirts  the 
edge  of  the  terrace.  The  front  is  crossed 
by  an  open  vaulted  jiorch  one  bay  deep, 
with  seven  i^ointed  arches  corresponding 
to  the  nave  and  aisles,  which  is  much  later 
than  the  original  mosque.  The  nave  rises 
liehind  the  central  and  widest  opening, 
and  is  covered  with  a  high  ridge  roof,  but 
with  a  square  frontisijiece,  containing  a 
group  of  three  windows,  instead  of  a  ga- 
ble. The  transepts  also  rise  above  the 
aisles,  and  at  the  crossing  is  a  high  dome 
on  a  drum  perforated  with  windows.  The 
central  nave  and  adjoining  aisle  on  either 
hand  are  marked  oif  by  massive  piers  so 
regular  and  distinct  as  to  encourage  the 
idea  that  they  were  the  original  building, 
in  the  form  of  an  early  Christian  basilica. 
The  nave  walls,  of  seven  bays,  are  carried 
on  thick-set  columns,  with  pseudo-Corinth- 
ian and  composite  cajiitals  of  Byzantine 
\vorkmansliip  ;  these  columns,  which  are 
plastered  over,  being  apparently  the  short- 
ened fragments  of  an  earlier  building. 
They  bear  slightly  pointed  arches,  stayed 
by  a  continuous  tie-beam.  The  wall  above 
is  pierced  by  two  stories  of  round-arched 
windows,  three  to  each  bay,  the  lower 
range  opening  into  the  aisles,  the  upper 
serving  as  clerestory.  A  great  arch  with 
solid  wall  above,  like  the  triumphal  arch 
of  a  basilica,  yet  very  slightly  pointed, 
cuts  off  the  nave  from  the  crossing.  The 
nave  aiul  two  aisles,  and  also  the  tran- 
sept, have  timber  roofs  and  ceilings,  the 
transept  being  of  later  and  .slighter  struct- 


183 


I'SAI.K.M 


lire,  witli  skMuk'rer  shafts  and  .spreading 
cajjitals  of  l)asket  -  work  in  i5yzantine 
leafage,  and  iionai'd  and  stilted  pier- 
arches  tied  witli  tinijjer.  Under  the  nave 
and  its  eastern  aisle  runs  a  erypt  or  vault- 
ed gallerv  of  two  aisles,  entered  from  a 
stairway  in  front  of  the  porch.  Tlie  an- 
gles between  tlie  transept  and  tlii'  older 
aisles  are  filled  out  witli  two  aisles  on  earh 
side  with  square  ])iers  ;ind  pointed  arches 
roughly  Imilt  ol'  old  material,  used  witli 
but  little  regai-d  for  its  original  purpose. 
These  aisles  are  covered  with  groined 
vaulting  and  a  terrace-roof.  The  interior 
is  enriched  with  colored  tiles,  stained  win- 
dows, painting  and  gilding,  in  a  jirofusion 
whi('h  dissembles  tlie  roughness  and  crudity 
of  the  architecture.  There  has  been  great 
disjHite  on  the  origin  of  this  building. 
Procopius  describes  a  great  basilica  built 
by  Justinian  w  iiliin  the  court  of  the  Jew- 
ish temple,  and  most  authorities  have  in- 
ferred that  Kl-Aksa  is  substantially  that 
basilica.  The  orientation  of  the  building 
is  an  objection  to  that  belief,  and  gives 
color  to  the  theory  that  it  was  entirely  the 
work  of  tlie  ^foslems,  though  very  likely 
built  of  the  fragments  of  Justinian's  ba- 
silica, taken  from  another  site.  A  small 
building  adjoining  the  east  transept  is 
thought  to  be  the  original  ilosque  of  Omar, 
whose  name  has  been  popularly  transferred 
to  the  Dome  of  the  Rock,  and  a  prolonga- 
tion of  the  west  transept  into  a  double 
vaulted  aisle  was  probalily  added  by  the 
Templars  when  they  used  El-Aksa.  The 
Mos(iuc  of  Omar,  whatever  it  may  have 
been,  was  built  by  Omar  directly  after  he 
had  taken  Jerusalem  in  (JoT.  Abd-el- 
Malek  built,  or  else  transformed,  El-Aksa 
near  the  end  of  the  vii  century.  It  was 
thrice  injured  by  earthquakes  in  the  viii 
cent.,  and  rebuilt  with  considerable  trans- 
formations by  I>;i-;\lahili  ahout  7^0.  After 
Jerusalem  was  taken  by  the  Crusaders, 
Baldwin  II.  gave  Kl-Aksa,  then  supjiosed 
to  be  the  remains,  or  the  successor,  of  Sol- 
omon's Temple,  for  a  residence  to  a  broth- 


erhood of  knights  sworn  to  the  defence 
of  the  Holy  City,  who,  estaldished  thus 
within  the  [irecinct  of  the  temple,  took 
their  nameof  Templars.  Altered  by  them, 
it  was  again  restored  by  Saladin  after  his 
capture  of  the  city  in  IIST.  The  elabo- 
rate juilpit  which  he  brought  from  .Me]iy)0 
is  still  there.  Since  his  time  the  Imilil- 
iiig  is  pi'obably  not  greatly  changed. 

The  (loLUEX  CiATlC  (Habel-I )aheriyeh) 
is  a  gateway  in  the  iiurlli  wall  of  the 
Ilaram  (terrace  of  the  Tcmiile)  from 
which  steps  led  down  touai-il  the  \'alley 
of  Jehoshaphat,  or  Kedron,  opposite  the 
Mount  of  Olives.  It  is  a  rectangular  mass 
tliniugli  which  runs  a  doulile  passage, 
divided  by  a  range  of  columns  anil  sub- 
divided into  six  square  bays  covered  with 
domes  in  Byzantine  fashion.  It  opened 
at  each  eml  by  a  double  archway,  hut  has 
been  walled  up  for  centuries— by  Omar, 
accor(liiig  to  the  Moslem  tradition,  which 
savs  that  it  will  so  remain  till  the  end  of 
the  wiirld,  and  then  give  passage  for  good 
Mussulmans  to  the  honris  of  Paradise. 
The  Christian  tradition  is  that  here  Christ 
made  his  entry  into  Jerusalem  as  is  de- 
scribed in  the  New  Testament.  The  in- 
terior colnnms  are  late  Ionic  ;  those  on  the 
exterior  are  Corinthian,  and  carry  a  full 
entahlatnre  and  an  attic.  Its  jiciailiarity  is 
that  the  whole  entablature  is  bent  round 
the  coupled  arches  in  the  front,  forming 
their  archivolt.  There  has  been  niuc-h 
controversy  over  its  age,  Mr.  Fergusson 
holding  that  it  was  the  entrance  to  Con- 
staiitine's  basilica,  M.  de  \'ogiie  and 
others  that  it  is  of  Justinian's  time,  or 
later.  But  the  carved  detail  is  said  to  be 
distinctly  of  Byzantine  cliaraetcr.  This 
gate  is  not  to  lie  ciinri>uiHle(l  with  the 
(tolden  (iate  of  Solomon's  TcMi|ile,  de- 
stroyed with  the  temple. 

(iuoTTo  OK  St.  James,  so-called.  .\n  ex- 
tensive rock-tomb  on  the  east  side  of  the 
Kedron  valley,  beyond  the  tombs  of  Ab- 
salom and  .lehoshaphat.  The  present  en- 
trance   is    by    a    long    [)assage    from     the 


JERUSALEM 


soiitli  ;  but  the  origiiuil  entrance  was  no 
doubt  by  the  loggia  IG  ft.  wiile  of  two 
Doric  columns  7  ft.  high  in  antiK,  open- 
ing on  the  vertically  cut  face  of  the 
rock.  There  is  a  Doric  entablature  over 
the  columns,  and  a  Hebrew  inscription 
above  the  cornice.  Within  the  loggia  are 
six  connecting  cliambers,  three  of  them 
with  loculi  for  dead  bodies.  The  tomb 
has  its  name  from  a  tradition  that  St. 
James  concealed  himself  in  it  after  the 
Crucifixion. 

IIakam.     See  Temple  Terrace. 

IIebkew  Kecropolis  of  rock-tombs, 
just  below  the  city  in  the  Kedron  valley, 
and  particularly  in  the  neighboring  val- 
ley of  lliunom.  Xear  the  village  of  Bet 
Sahur  are  several  rock  -  chambers  with 
shelves  for  the  bodies,  some  of  the 
cliambers  witli  entrance-doors,  niches  and 
arches,  and  some  with  apses.  On  the 
south  side  of  the  Hinuom  valley  are 
abundant  rock -tombs,  some  of  whicli 
were  occupied  by  hermits  in  the  Middle 
Ages  and  are  now  used  as  dwellings  by 
I^oor  families  and  for  cattle.  Some  of 
them  have  portals  elaborately  ornamented 
with  mouldings  and  pediments  ;  one  con- 
sists of  two  stories  with  a  vestibule  and 
a  number  of  cliambers  with  sculjitured 
entrances  ;  another,  called  the  Apostles' 
Cavern  [q.  v.),  serves  as  a  chapel.  In 
the  midst  of  the  tombs  is  a  building 
called  Aceldama,  or  building  of  tlie  Field 
of  Blood.  It  is  30  ft.  long  and  ::2U  ft. 
wide  ;  its  vaults  34:  ft.  high  are  supported 
on  massive  central  pillars.  The  lower 
part  of  this  building  is  liewn  from  the 
rock,  the  upper  part  is  built  of  drafted 
masonry.  There  are  round  openings  in 
the  flat  roof  through  which  bodies  were 
let  do\\ni.  The  building  serves  as  tlie  ves- 
tibule to  a  series  of  tomb-chambers  with 
loculi  cut  in  their  walls. 

The  Hospital  (Muristan)  adjoining 
the  Holy  Sepulchre  on  the  south  is  the 
dilapidated  remainder  of  the  famous 
establishment    of     the    Hosj^itallers,     or 


Knights  of  St.  Jolin.  It  is  chiefly  a  mass 
of  ruins,  among  which  may  be  distin- 
guished the  remains  of  its  church  of  St. 
Mary  Major.  This  was  a  small  cliurch, 
about  oU  ft.  by  110  ft.  inside,  with  a 
nave  and  two  aisles,  and  three  apses  at 
the  east,  as  was  usually  tlie  case  with  the 
Crusaders'  churches.  Tlie  principal  door- 
way in  the  north  aisle  is  still  to  be 
seen,  a  broad  round-headed  archway  witli 
shafted  jambs,  and  two  sub -arches  of 
which  the  dividing  column  has  disap- 
peared. The  heavy  moulded  archivolt  is 
carved  with  figures  whicli  personify  the 
calendar  months,  above  which  is  a  string- 
course witli  carved  corbel-table.  The  rest 
of  the  outside  is  concealed  by  abutting 
buildings,  and  the  interior  is  waste.  (Jn 
the  south  is  a  cloister  rebuilt  by  the  Arabs, 
against  which  is  a  hall  which  serves  for 
the  German  Protestant  chajiel.  Among 
the  houses  northward,  between  St.  Mary's 
and  the  Chajiel  of  St.  Helena,  are  tlie 
remains  of  St.  Mary  Latin  {see  Fiy.  04), 
a  nave  of  five  bays  and  eastern  apse,  orig- 
inally attached  to  the  same  foundation. 
Charlemagne,  favored  by  his  friend  Har- 
oun  el-Raschid,  founded  a  convent  here 
for  the  assistance  of  pilgrims,  of  which 
the  pilgrim  Bernard  the  Wise  wrote  in 
the  IX  century  :  "  We  were  received  into 
the  Hospice  of  the  glorious  Emperor 
Charles,  where  are  entertained  all  those 
who,  for  devotion's  sake,  come  to  this 
l^lace  and  who  speak  the  Latin  tongue." 
Two  centuries  later  (1048)  a  company  of 
merchants  from  Anialfi,  established  at 
Jerusalem,  built  a  larger  hospice  attached 
to  a  Benedictine  convent,  in  which  were 
established  two  communities,  monks  and 
nuns,  and  of  which  St.  jVIary  Latin  was 
probably  tlie  chai^el.  A  jirior  named 
Gerard,  who  was  in  charge  when  the 
Crusaders  captured  the  city,  established 
the  brotherhood  of  St.  Jolm,  which,  as  it 
grew,  detached  itself  from  the  convent, 
built  the  great  hospital,  and  finally  be- 
came a  militarv  order.     The  eastern  half 


1S5 


JFJU'SALKM 


of  the  Miiristan,  containing  St.  M;ii-y 
Mujur,  was  given  by  the  Sultan  to  Prussia 
ill  1879.  when  the  Crown  Prince  visited 
Constantinople.  The  Germans  propose 
to  rcliuild  the  uhurch. 

The  KriiiiicT  ks-Silseleh.  standing 
before  the  cast  door  of  the  Dome  of  the 
Keck,  is  a  picturesque  little  ojien  pavilion. 
Si.K  columns  ami  arches  bear  a  hexagonal 
drum  and  round  dome  ;  about  them  is  an 
open  arcade  of  twice  as  many  (columns 
with  an  aisle-roof.  The  columns  are  By- 
zantine, taken  from  older  buildings  ;  the 
arches  round,  the  archivolts,  spandrels, 
and  tloor  of  marble,  decorated  with  mosaic  ; 
the  low  drum  covered  outside  with  tiles. 
The  name  signifies  Dome  of  the  Chain, 
and  alludes  to  the  chain  stretched  by  Sol- 
omon, according  to  Mo.slem  tradition, 
across  tlie  opposite  door  of  the  Dome  of 
the  llock. 

MostjL'E  OF  El-Ak.sa.     See  El-Akxa. 

Mosque  of  Mtssi-lmax  Dekvisiies. 
See  St.  Peter's  Church. 

^fosQiE  OF  O.MAK.  See  Dome  (if  the 
Hork:  also  El-Aksu. 

MURISTAK.      See  Jlu.yiildl. 

Pyramid  of  Zaciiaiuas,  a  rock-tomb 
of  similar  type  to  the  Tomb  of  Absalom, 
in  the  range  on  the  east  side  of  the  Ke- 
dron  Valley.  The  square  base  almost  re- 
])eats  that  of  the  Tomb  of  Absalom  ;  it  has 
pilasters  at  the  angles,  with  quarter  Ionic 
columns  engaged  as  antiB,  and  two  engaged 
Ionic  c()lumns  on  every  face.  There  is  a 
jilaiu  architrave  upon  the  columns,  then 
the  typical  Egyptian  cornice,  and  the 
whole  is  crowned  i)y  a  quadrangular  pyi'a- 
nnd.  The  entire  monument  is  hewn  from 
the  solid  rock,  is  isolated  like  the  Tonil) 
of  Absalom  l)y  a  trench  cut  vertically  in 
the  rock-slope  of  the  hill,  and  is  of  the 
same  date.  The  door  has  not  been  dis- 
covered. The  base  is  about  10  ft.  square, 
and  the  total  height  29  ft. 

St.  Peteii's  (Jitcucii,  or  Mosque  of  the 
Mussulman  Dervishes,  is  a  little  church 
aboiil  4(1  ft.  bv  ;o  ft.  inside.  It  consists  of 


a  nave  ami  aisles  of  three  bays,  each  end- 
ing eastward  in  an  apse.  The  bays  of  the 
nave  are  s([uare.  those  of  the  aisles  oblong, 
and  all  covered  with  groined  vaulting  on 
cross  ribs.  The  piers  are  square,  with 
only  moulded  imposts  for  capitals,  and 
plain  bases,  but  with  small  nook-shafts  at 
the  angles.  The  aisle-vaults  spring  from 
corbels  agiunst  the  side  walls.  Built  in 
with  other  liuildings.  the  chai)el  has  no 
exterior.  Its  history  is  uncertain  ;  De 
Vogiie  assigns  it  to  the  first  half  of  the 
XII  century.  Its  use  as  a  mosque  has  pre- 
served it  in  unusually  good  condition. 

The  Temple  Teijrace  (Ilaram  es - 
Sherif).  It  is  not  doubted  that  the  site  of 
the  Temple  of  the  Jews  was  the  great  ter- 
race that  encloses  the  summit  of  Mount 
Moriah  at  the  S.  E.  corner  of  Jerusalem. 
This  is  an  irregular  quadrangle  more  than 
a  (juarter  of  a  mile  long  from  north  to 
south,  and  two-thirds  as  long  from  east  to 
west,  levelled  u])  on  high  walls  wliich  fol- 
low the  undulations  of  the  rocky  hill-side 
and  against  which,  on  the  north  and  west, 
abut  the  buildings  of  the  city  ;  while  on 
the  east  is  the  Valley  of  Jehoshaphat  and 
the  brook  Kedrou,  and  on  the  south 
the  Valley  of  Ilinnom.  The  S.  E.  corner 
of  the  terrace  stands  more  than  1.30  ft. 
above  the  surface  of  the  rock  and  rests  on 
enormous  vaulted  galleries,  but  half  its 
height  is  covered  by  the  debris  which  has 
accumulated  at  its  foot.  The  south  side 
of  the  terrace  is  occupied  by  the  Mosque 
of  El-Aksa  (c/.  r.),  beside  which  is  the 
T'riple  Gate  ;  on  the  east  side  is  the  fa- 
mous Golden  Gate  (</.  r.),  while  the  north 
and  W'Cst  sides  are  skirted  by  a  row  of 
small  buildings  broken  by  various  gates 
leading  fi-om  the  town.  In  the  middle  is 
a  plall'iinu  rising  some  Itl  ft.  above  the 
terrace,  which  an  unlirokeu  Jewish  tra- 
dition holds  to  be  the  platfoi'm  of  the 
Temple  itself.  In  this  most  modern  au- 
thorities concur.  This  platform,  which  eu- 
clo.ses  the  summit  of  Mount  iloriah  (see 
name  of  the  lioel)  is  about  4.')0  ft.  by  oOO 

186 


JERUSALEM 


Fig.  97. — Jerusalem,  Temple   Terrace. 
1.  Dome  of  the  Rock.  2.  Mosque  EUAksa. 

3    Mosque  of  Omar  (probably).         4.  Golden  Gate. 

ft.,  and  is  reached  by  eight  flights  of  steps. 
{See  Fig.  97.) 

Solomon's  temple,  burned  in  588  B.C., 
when  Jerusalem  was  taken  by  the  Clial- 
disans,  was  restored  by  Zerubbabel  on 
about  the  same  plan  as  the  original,  but 
with  much  less  richness,  and  remained 
until  llerod  undertook  its  complete  re- 
construction with  a  view  of  renewing  the 
splendor  of  Solomon.  This  with  its  acces- 
sory porticoes  and  other  constructions  was 
finished  under  the  reign  of  Xero,  and  was 
destroyed  by  the  soldiers  of  Titus,  a.d.  70, 
after  the  memorable  and  tragic  siege.  The 
masonry  of  huge  stones  which  forms  the 
substruction  of  mucli  of  the  wall  is  com- 


monly believed  to  be  the  work  of  Solomon 
or  of  llerod,  but  it  has  been  subsequent- 
ly overbuilt  by  Roman  emjjerors,  Crusad- 
ers, aiul  Turks.  The  site  of  the  Temple, 
despised  and  even  defiled  by  Christians 
in  the  first  centuries  after  Christ,  was, 
we  are  told,  occupied  by  Hadrian  with  a 
temple  ;  later,  Justinian  built  on  it  a 
magnificent  basilica,  which  was  destroyed 
by  the  Persian  king  Chosroes,  014  a.d. 
Since  the  conquest  of  Jerusalem  by  Omar, 
lioT  A.D..  it  has  been  held  peculiarly 
sacred  by  the  Moslems,  and  the  upper 
platform,  through  which  the  summit  of 
Mount  iloriah  projected,  is  occupied  by 
their  cherished  sanctuary  the  Dome  of 
the  Rock  {q.  v.).  Of  the  structure  of 
Herod  considerable  portions  remain  in 
the  lower  part  of  the  walls,  which  are  in 
great  blocks,  from  3  ft.  to  G  ft.  high, 
and  3  ft.  to  23  ft.  long  (one  block  at 
the  S.  W.  is  about  40  ft.  long),  well 
jointed,  and  with  a  .shallow  draft  around 
the  edges.  Next  over  this  come  stretches 
of  Roman  masonry  in  smoothed  blocks 
about  3  ft.  long,  with  no  draft — doubtless 
of  the  time  of  Hadrian.  Above  these  the 
often  repaired  walls  are  of  various  dates, 
but  chiefly  Moslem.  A  stretch  of  the 
ancient  Herodian  wall,  lo'J  ft.  long  and 
50  ft.  high,  on  the  west  side,  not  far  from 
the  S.  W.  angle,  is  the  Wall  of  Lamenta- 
tions, where  the  Jews  resort  every  Friday 
to  weep  over  the  destruction  of  Jerusalem. 
The  nine  lowest  courses  are  of  huge 
drafted  blocks.  Close  by  the  S.  W.  angle 
are  the  abutments  of  Herod's  bridge  over 
the  Tyropceon  ravines.  An  English  excava- 
tion here  has  laid  bare  a  street  pavement 
anterior  to  Herod,  and  below  the  pave- 
ment has  been  found  part  of  the  arch  of  a 
bridge  in  enormous  stones,  buried  beneath 
the  accumulation  of  ages,  and  perhaps 
contemporaneous  with  Solomon.  On  the 
platform  are  two  cisterns,  which,  though 
often  restored,  may  be  of  the  time  of  Solo- 
mon. One  is  beneath  tlie  Sakra  rock,  the 
orii'inal  core  of  Mount  Moriah,  the  other 


187 


.iKi;rsALP:.M 


is  before  the  Mosijue  El-Aksa.  Tlie  lat- 
ter cistern  is  a  noteworthy  t^tnicture, 
witii  its  roof  supporteil  "u  jiilhirs  (if 
roi-k  :  it  is  over  40  ft.  deep,  ami  alxiut 
740  ft.  in  eircumfereuce.  At  the  X.  W. 
corner  of  the  Ilarani  es-tShei'if,  on  the 
site  of  the  present  barracks,  was  found- 
ed at  the  time  of  the  Maccabees,  on  the 
rock  which  here  projected  above  the 
level  of  the  platform,  a  strong,  defensive 
tower  called  Baris.  This  was  altered  and 
enlarged  by  Heroil,  and  became  the  noted 
citadel  called  Antonia.  The  Temple  was 
thus  at  once  the  chief  sanctuary,  market, 
and  fortress  of  the  Jews. 

Tomb  of  ABS.iLO.M.  so  called,  in  the 
Valley  of  the  Kedron,  below  the  Temple. 
It  consists  of  a  cubical  rock-hewn  base 
about  20  ft.  each  way,  isolated  by  a  trench 
about  8  ft.  wide  cut  vertically  in  the  rock 
of  the  Mount  of  01ive.s,  with  a  square  attic 
of  large  stones  over  the  Egy2)tian  coi-nice 
of  the  base,  upon  this  a  circular  drum,  and 
finally  a  concave  conical  spire  rising  from 
a  cable-moulding  at  the  toji  of  the  drum 
and  ending  in  a  finial  like  a  tulip-flower. 
The  height  of  the  whole  above  the  jircs- 
ent  surface  is  47  ft.  At  the  corners  of 
the  base  are  cut  pilasters  with  rpiartcr 
Ionic  columns  engaged  on  the  inner  sides 
as  anta?,  and  two  engaged  Ionic  semi-col- 
umns in  (lilt is  on  every  face.  Upon  col- 
umns and  antrt?  rests  an  architrave,  above 
which  is  a  Duric  triglyph-frieze  of  late 
form,  then  a  large  torus,  and  upon  this 
the  Egyptian  hollow  cornice  which  has 
been  mentioned.  A  hole  has  been  broken 
into  the  interior  chamber  on  one  side  by 
treasure-seekers.  There  is  a  door  high  up 
on  the  south  side,  from  which  a  stair  leads 
down  within.  The  interior  is  ornamented 
with  arcades.  Despite  the  traditional  at- 
tribution of  this  tomb,  which  is  defended 
by  l)e  Saulcy,  it  is  evident  irom  its  archi- 
tecture that  it  dates  from  a  time  when  the 
Greek  types  had  become  profoundly  de- 
based by  Roman  influence,  and  is  doubt- 
less later  than  the  foundation  of  the  Em- 


pire. With  such  classical  elements  of  the 
decadence  are  combined,  in  this  curious 
monument,  the  Phaniiciaii  elements  char- 
acteristic of  the  region. 

Tomb  of  Jehoshapiiat,  so  called,  in  the 
rock  of  the  Mount  of  Olives,  on  the  east 
side  of  the  valley  of  the  Kedron  beyond 
the  Tomb  of  Absalom.  It  has  a  broad  en- 
trance surmounted  by  a  sort  of  pediment, 
and  six  rectangular  interior  chambers, 
some  with  niches,  some  without,  commu- 
nicating by  narrow  jiassages. 

Tombs  of  the  Judges,  or  of  the 
Prophets,  beyond  the  Tombs  of  the 
Kings,  north  of  Jerusalem.  They  in- 
clude three  rock-cut  chambers,  with  a 
number  of  subordinate  cells,  all  cut  with 
many  loculi.  graves,  and  niches. 

Tom  lis  OF  THE  KixciS,  nortli  of  the 
city.  From  a  large,  square  rock-cut  open 
vestibule  a  passage  leads  to  a  court  DO  ft. 
by  81  ft.,  containing  a  cistern.  On  the 
west  side  lies  the  portal  of  the  tombs 
proper,  which  formerly  had  two  columns, 
now-  removed.  It  is  ornamented  with 
sculj)tured  wreaths,  fruit,  and  foliage.  In 
the  vestibule  is  a  small  round  cistern  to 
which  descends  a  flight  of  steps.  A  low 
passage  from  the  vestibule  leads  into  a 
chamber  19  ft.  square,  from  three  sides  of 
which  open  tomb- chambers  with  rock- 
shelves  and  loculi.  In  one  of  these  cham- 
bers was  found  a  richly  decorated  sar- 
cophagus iu)w  in  the  Louvre.  The  Jews 
call  til  is  elaborate  burial-place  the  Tomb 
of  Zedekiah  ;  it  is  proliable  that  it  is  in 
fact  the  tond)  of  Queen  Helena  of  Adia- 
bcnc.  which  is  referred  to  by  Josephus. 

The  ToMii  OF  THE  \'iu(;ix  and  its 
cliurch  lie  in  the  \'alley  of  the  Kedron. 
or  of  .Jehoshapiiat.  close  bv  the  (lardcii  of 
(iethsemane,  under  the  walls  of  the  ter- 
race of  the  temiilc.  The  soil,  which  has 
filled  the  bottom  of  the  valley  to  a  depth 
of  no  or  40  ft.,  has  completely  buried 
the  church,  which  is  now  subterranean. 
A  small  cubical  porch  about  25  ft.  square, 
the  oiilv    part    above    ground,   covers   the 


iss 


J  ESI 


eiitniiiee.  Its  doorway  is  a  ilouhlo  coii- 
ceiitrio  pointed  arcli,  flanker!  l)y  live 
Gothic  colmiius.  'I'iie  iniirr  arcli  is 
blocked  by  a  wall,  added  I'or  det'euce, 
which  reduces  the  door  to  the  .smallest 
limits.  From  here  a  broad  flight  of  steps 
leads  down  35  ft.  to  the  church  itself, 
which  is  a  single  nave  about  GO  ft.  long, 
east  and  west,  and  :^1  ft.  wide.  It  is 
jiartly  groined  and  partly  barrel-vaulted, 
and  has  an  ap.se  at  each  end,  the  entrance 
being  at  the  south  arm  of  a  short  tran.sejit 
near  the  west  end.  The  eastern  apse  is 
the  choir  of  the  Greeks,  and  in  front  of  it 
is  the  tond),  an  isolated  square  marble 
chapel  which  is  said  to  enclose  the  sepul- 
chral cave  in  which  the  body  of  the  Vir- 
gin lay  from  her  death  to  her  assumption. 
The  Abyssinian  Ciiurch  has  its  altar  be- 
fore the  western  apse  ;  the  Armenians 
have  built  one  against  the  tomb  ;  the 
Moslems  have  a  prayer-niche  in  the  south 
wall.  The  architecture  is  as  simple  as 
possible,  without  any  features  excejit  a  row 
of  windows  which  once  lighted  the  church, 
but  are  now  completely  blocked  by  the 
accumulated  earth  outside.  Two  small 
chapels  opening  out  to  right  and  left  on 
the  entrance  stairway  are  called  the  tombs 
of  the  Virgin's  jiarents  and  of  St.  Joseph. 
Near  by,  but  entered  from  outside,  is  a 
cave  in  the  rock,  believed  to  ])e  the  scene 
of  Christ's  agony  on  the  night  of  his  ap- 
prehension. A  church  on  this  spot  is 
mentioned  by  John  of  Damascus  as  early 
as  the  V  cent.,  but  the  tradition  that  it 
was  built  by  the  Empress  Helena  is  un- 
supported. It  is  often  spoken  of  by  la- 
ter pilgrims,  and  was  ruined  or  fell  into 
decay,  (iodfrey  of  Bouillon  founded  a 
('lunisian  (Benedictine)  monastery  here 
directly  after  his  establishment  at  Jeru- 
salem, and  the  jiresent  church  was  proba- 
bly built  for  that  monastery. 
JESI,  near  Ancona,  Italy. 

The  brick  church  of  S.  Mauco  is  in  the 
fine  late  Romanesque  vaulted  style  of  the 
XIII  or  early  xiv  cent.,  with  an  admixture 


of  i)ointcd  elements.  The  luive  consists 
(if  four  square  bays  and  measures  about 
l.'iO  n.  l)y  5.5  ft.  The  eight  low  pointed 
arches  are  sujjported  on  octagonal  piers, 
and  two  square  bays  in  the  side  aisles  cor- 
respond to  each  bay  of  the  nave.  All  the 
vaults  ai'i'  ribl)ed  with  a  simple  torus 
moulding.  In  the  fa(;adc  is  a  large  rose 
window  with  a  double  band  of  decoration, 
the  inner  being  a  combination  of  sculpture 
and  circles  of  majolica.  The  o]io  large 
round-headed  doorway  has  heavy  twisted 
colonnettes  and  mouldings.  This  church 
is  important  for  the  history  of  architecture 
in  the  Marches  of  Ancona.  [A.  L.  F., 
Jr.  J 

KALAT  EL-MUDIK.      See  Apameia. 
KALAT  SIMAN,  Northern  Syria. 

The  great  clinrch  of  St.  Simeox  Sty- 
LITES  was  the  largest  and  most  important 
in  central  Syria.  It  is  recognizably  de- 
scribed by  the  historian  Evagrius,  a  cen- 
tury after  the  saint's  death  in  459,  and 
De  Vogiic  ascribes  it  to  the  latter  half  of 
tlie  V  century.  The  pillar  on  which  St. 
Simeon  had  passed  his  later  years  was 
made  the  centre  of  an  open  octagon  or 
Inipmtlivnm.  from  which  the  four  arms  of 
the  church  radiated  east,  west,  north,  and 
south.  Though  the  church  is  ruined, 
enough  of  it  still  stands  to  show  its  whole 
form  and  structure.  The  arms  were  like 
so  many  basilicas,  with  nave  and  aisles 
separated  by  arcades  of  seven  bays  (except 
the  eastern,  which  was  longer)  carrying  a 
clerestory,  and  ending  in  an  o\)e\\  porch 
or  colonnaded  portico.  The  eastern  arm, 
lengthened  to  ten  bays,  ends  in  three 
windowed  apses,  being  perhaps  the  earliest 
known  exam])le  of  a  triapsal  church.  The 
whole  length  of  the  church  east  and  west 
is  :3.3(i  ft.,  north  and  south  ;50()  ft.  The 
central  octagon  is  inscribed  in  a  circle  of 
100  ft.  radius  :  the  naves  are  36  ft.  wide, 
the  aisles  IS  ft.  'IMie  columns,  standing 
on  pedestals,  are  'iX  ft.  high,  and  the 
whole  walls  49  ft.  Wliile  the  four  naves 
abut  against  the  four  cardinal  sides  of  the 


KALAT 


octagon,  tlio  aisles  are  foiitinned  along-  its 
diagonal  sides,  connecting  the  fonr  arms, 
and  small  apses  are  set  in  the  angles  be- 
tween them.  Eacli  face  of  the  octagon 
opens  in  a  great  arrh  Hanked  by  two  de- 
tached  columns,  so  as   to  give   from   all 


Fig.  98.— Kalat  Siman. 


parts  a  clear  view  of  the  central  column. 
The  clerestory  was  a  continuous  row  of 
round -arched  windows,  between  which 
stood  a  series  of  colonnettes  on  corbels, 
carrying  other  corbels  that  suj^ported  the     of  buildings  which 


the  front  of  the  nave,  ending  appar- 
ently like  the  rest  in  a  horizontal  cornice. 
This  chnrch  has  been  cited  as  the  first 
instance  of  the  cruciform  type  of  church 
which  afterward  pervaded  Europe,  but  it 
is  to  be  noted  that  it  is  not  so  much  a  sin- 
gle church  as  a  collection  of  four  naves 
about  an  open  centre,  the  occasion  of 
which,  the  sacred  pillar  at  that  centre, 
was  the  focus  of  observation  from  every 
side,  and  that  the  arms  were  divided  from 
each  other  by  this  main  object  of  interest, 
while  the  service,  here  apparently  second- 
ary to  the  adoration  of  the  pillar,  appears 
to  have  been  held  only  in  the  eastern  arm, 
where  the  apses  were.  It  seems  to  have 
remained  absolutely  without  imitation  in 
the  East,  while  the  cruciform  type  was 
developed  in  the  AVest.  The  architectural 
details,  however,  here  as  elsewhere  in 
central  Syria,  are  curiously  suggestive  of 
forms  that  were  used  later  in  Romanesque 
architecture,  especially  in  the  south  of 
France.     {See  Fig.  08.) 

In  the  century  after  St.  Simeon's  deatii 
his  reputation  gri'w  enormously  ;  the 
crowd  of  followers  who  had  gathered  aliout 
him  in  his  lifetime  increased  to  a  con- 
siderable community.  The  large  group 
enclosed  within  the 


roof-trusses.  There  is  no  indication  of 
any  roof  gables,  so  that  apparently  the 
upper  cornices  were  horizontal  through- 
out, and  the  roofs  of  the  naves  seem  to 
have  been  hipped.  The  main  apse,  which 
is  large,  and  as  high  as  the  nave,  is  deco- 
rated without  by  two  ranges  of  applied 
columns,  separated  only  by  corbels,  the 
upper  range  carrying  an  arched  corbel- 
table  which  bears  the  main  cornice.  In 
front  of  the  south  arm  of  the  cross,  where 
the  main  entrance  is,  there  is  a  striking 
open  porch,  or  narthex,  oi)ening  with 
three  broad  arches,  the  middle  one  very 
broad,  which  are  surnu)unted  by  gables. 
Four  doors  lead  from  this  porch  into  the 
church,  two  of  them  into  tlie  nave. 
Above  it  the  clcrestorv  is  returned  across 


same  surrounding  wall  with  the  church,  is 
doubtless  a  convent  annexed  to  it.  In  it 
are  found  a  small  basilica,  as  for  private 
services,  cloistered  courts,  and  the  various 
rooms  necessary  to  such  an  establishment. 
At  the  foot  of  the  hill  where  St.  Simeon 
stands,  is  an  interesting  group  of  build- 
ings now  called  Der  Siman,  or  Simeon's 
Convent.  The  jirincipal  buildings,  gabled 
and  unroofed,  are  surrounded  by  porticoes 
in  two  or  three  stories,  built  of  large 
monolithic  pilasters  and  beams,  and  now 
standing  disconnected.  One  house  is 
connected  by  a  stone  trestle-bridge  with 
higher  ground  adjoining  it.  The  road  that 
leads  up  to  the  church  is  spanned  by  a 
triumphal  arch  of  peculiar  form.  It  is  a 
single   wall,  pierced   by  an  arch   of  about 


VM 


KALB 


24  ft.  span  and  nearly  the  same  height. 
The  deep  voussoirs  bear  on  columns  (h'- 
tached  in  the  line  of  the  wall,  and  the 
piers  are  stayed  by  lateral  buttresses 
which  give  them  the  shape  of  a  T  in 
plan,  and  which,  ending  in  colonncttes, 
receive  the  corbelled  cornice  that  crowns 
the  whole  arch. 
KALB  LUZEH,  Xorthern  Syria. 

The  CiirRCH,  which   is  ascribed  to 
the  VI  cent.,  is  much  like  that  at  Ru- 
weiha  iu  plan,  though  somewhat  small- 
er, without  its  cross-arches,  and  richer 
iu  detail.     It  is  about  5.5  ft.  by  115  ft., 
consisting  of  a  nave  and  aisles  with  pro- 
jecting eastern  apse,  and  an  open  nar- 
thex  between  two  square  towers  at  the 
front.     The  nave,  25  ft.  l)y  85  ft.,  is      , 
separated  from  each  aisle  by  an  arcade 
of  three  broad  arches  carried  on  low 
wide    piers.     The    choir,    raised    some 
four  feet,  ends  in  the  large  domed  apse 
faced  by  a  heavy  sculptured  archivolt. 
Over  the  main  arcades  is  a  clerestory 
of  many  small  windows,  nearly  square,  be- 
tween which  were  ranges  of  colonnettes. 
resting  on  corbels  and  bearing  other  cor- 
bels that  supported  the  trusses  of  the  ga- 
bled roof.    The  porch 
was  entered  through  a 
very  broad  low  arch, 
like  those  that  line  the 
nave,  and  the  apse  was 
decorated  on  the  out- 
side with  two  stories  of 
engaged   colonnettes 
separated  only  by  cor- 
bels,   and   supporting 
a  heavy  corbelled  cor- 
nice.    The  church  is 
r  u  i  n  e  d  ,  but    all    its 
jjrincijial  features  sur- 
vive.    Its  massive  de- 
tail is  set  otf  by  abun- 
' — ' — ' — ' — ' — '      dant  decorative  scul^jt- 
Fig.  99.-Kaib  Luzeh,     ^^g  ^f  great  Spirit  and 

Church,  from  de  Vogue's  .  i      -i.         i 

Syrie  Centraie.  richncss,   and   US  oe- 

Scaie  of  50  feet.  sigu  anticipates  in   a 


i 


Fig.  100.— Kalb  Luzeh.  Church. 

singular  way  many   of   the   characteristic 
features  of  western  Romanesque  architec- 
ture.    (See  Figx.  99.  Kio.) 
KAN'AWAT  (anc.  ilaximianopolis),  Ilau- 

ran,  Syria. 

The  Basilica  was  a  l>nilding  of  the 
Roman  type  rather  than  the  Syrian,  the 
aisle  being  continued  across  the  ends  of 
the  nave,  where  it  had  a  second  story  as 
in  Sta.  Agnese  at  Rome.  The  lateral  ar- 
cades were  in  five  bays,  the  arches  resting 
directly  on  the  capitals  of  the  very  plain 
columns,  which  stood  on  pedestals,  and 
the  middle  arch  on  each  side  being  con- 
siderably wider  than  the  others.  There 
was  a  single  round  projecting  eastern  apse, 
flanked  in  the  eastern  fashion  by  the  pro- 
thesis  and  diacouicou.  The  original  roof 
was  of  wood,  but  was  replaced  iu  later 
alterations  iu  the  usual  Syrian  fashion  by 
one  of  stone  slabs  resting  on  cross-arches, 
which  were  added,  imbedding  the  col- 
umns. In  front  was  an  ojien  atrium  ar- 
caded  on  all  sides  like  the  nave,  and  before 


KAsi; 


tliLs  an  (ijn'ii  pDrtico  or  narthex,  support- 
od  oil  ail  orilur  of  larger  and  riclior  com- 
posite columns.  Adjoining  this  basilica 
is  a  smaller  one  at  riglit  angles  to  it,  built 
into  the  l>ody  of  an  older  building  at  the 
same  time,  apparently,  that  the  alterations 
were  made  in  the  larger  church.  It  is  of 
the  ordinary  Syrian  type  with  cross  arches 
carried  cm  piers,  lu  against  its  side  is 
another  (i|H'n  arcaded  narthe.x,  remaining 
from  the  older  building,  with  the  entab- 
lature bent  over  the  central  arch,  as  at 
Spalalo  and  Damascus.  The  alterations 
probably  date  t'l-oni  the  v  I'ciit.  ;  the  oliK-r 
buildings  can  liariUy  be  okler  than  Dio- 
cletian. The  smaller  and  newer  basilica 
is  duly  oriented  :  the  axis  of  the  dldei'  is 
north  and  smith. 

Temim.I':  oi'  IIklios  (the  Sun),  outside 
of  the  town,  on  an  elevation  in  the  middle 
of  the  valley.  It  stands  on  a  basement  10 
ft.  high,  with  a  flight  of  steps  in  front. 
It  is  Corinthian,  peripteral,  he.xastyle, 
with  eight  columns  on  the  flanks.  There 
is  an  interior  range  of  columns  before  the 
portal.  The  columns,  ten  of  which  re- 
main standing,  are  aliout  ■.'•">  ft.  liigli  and 
rest  on  pedestals  4A  I't-  Idgh.  The  plan 
measures  about  4()  ft.  by  i'A  ft.  Tiie  style 
and  execution  are  excellent,  and  testify  to 
early  Koinaii  date. 

Templk  oi-  .h  iTIKli.  ill  the  southei'ii 
part  of  the  town,  in  plan  about  lltS  ft.  by 
4()  ft.,  ]ii'ostyle,  with  four  great  columns 
about  :!"i  rt.  higli,  and  two  smalk'i-  in- 
terior columns  ///  //////x  before  the  jiortal 
in  the  pronaos.  In  the  back  wall  there 
were  two  niches,  one  over  the  otiier.  The 
temple  is  of  good  style  and  early  lioinaii 
date.  Its  attribution  is  shown  liy  in- 
scriptions on  the  bases  of  the  eolumns. 
Near  this  temple,  remains  of  statues,  etc., 
seem  to  indicate  a  hipijodrome. 

Koman  TirE.VTiii-:,  without  tiie  walls, 
on  the  right  bank  of  the  brook.  It  is  al- 
most entirely  hewn  from  the  rock,  and  is 
about  ti:}  ft.  in  diameter,  with  nine  tiers  of 
seats,    the  lowest    raiseil    t,',    I't.   above   the 


orchestra.  There  is  a  cistern  (?)  in  the 
middle  of  the  orchestra.  Uesides  the 
usual  entrances  at  the  sides  of  the  stage, 
it  is  described  as  having  an  entrance  in 
the  middle  of  the  proscenium. 

A  great  part  of  the  circuit  of  the 
Roman  \V".\_Li,s  survives,  with  numerous 
square  towers.  A  number  of  paved  streets 
can  be  followed,  and  many  remain  of  the 
stone  houses  of  the  llauran,  with  their  stone 
doors  and  windows.  There  is  a  small  tem- 
ple, or  nymplupum,  over  a  spring,  a  circu- 
lar tower  21  ft.  in  diameter,  perhaps  a  mau- 
soleum, both  these  without  the  town,  and 
abundant  remains  of  public  buildings,  with 
sculpture  and  columns,  besides  pre-Koman 
ruins  of  towers  and  walls  in  very  massive 
masonry,  and  a  beautiful  ancient  aqueduct. 
KASR"kAHHA.  See  A'rV  rl-Kanii. 
KATAKA.  See  IlnlboHra. 
KHIKHET  II ASS.  Syria. 

MONUIIEXT    OF     DiOdKN'ES,     of    the    IV 

century  A.U.  The  substructure  is  cubical, 
with  a  decorated  portal  preceded  by  a 
porch.  The  second  story  is  also  cubical, 
with  a  peristyle  :  and  the  monument  is 
crowned  by  a  jiyraniid.  There  are  many 
other  interesting  tombs  in  the  necropolis 
of  Khirliet  llass,  some  vaulted,  others 
cut  in  the  rock.  T'wo  are  entered  by  de- 
scending inclined  planes.  There  are  also 
interesting  groups  of  well-preserved  do- 
mestic and  ec(desiastical  buildings,  includ- 
ing two  churches,  all  substantially  like 
those  that  remain  at  El-Bara  (q.  v.). 
KIEJATH  JEARIM.  ^cv  Alm-dosh. 
KOD.TA  YAILEH.  See  Melassa. 
KUKMVA  (dcrme),  Pisidia,  .\sia  Minor. 
The  ancient  remains  comprise  a  theatre 
temples,  a  eolonnade.  and  the  ruins  of  a 
triumphal  arch,  all  of  comparatively  late 
date.  It  is  the  architecture  of  a  period  of 
decadence.  i)retentious  and  heavy,  but  of 
interest  and  imjiortance  as  illustrating  the 
falling  away  of  Hellenic  types  from  earlier 
ideals,  and  the  modifications  introduced  by 
the  (ii'cco  -  Uoniaii  architects  under  the 
I'lnHiire. 


CONSTANTINOPLE-MOSQUE  OF  SULEIMAN 


n-    •  ''C  jfMtvt 


KROTONA 


KROTOjSTA.     See  Cotrom. 
LABRANDA,  Caria,  Asia  Jlinor. 

Temple  (of  Zeus  ?).  It  is  t'uriutliian, 
peripteral,  hexastyle,  witli  eleven  columns 
on  the  flanks.  The  height  of  the  columns 
is  nine  and  a  half  diameters  ;  in  some  of 
their  flutes  are  left  small  fillets,  which  are 
inscribed  with  the  names  of  benefactors. 
The  frieze  is  convex,  the  cyma  ornamented 
with  lion-heads.  The  cella  had  two  col- 
umns in  antis  in  both  pronaos  and  opis- 
thodomos.  Sixteen  columns  remain  stand- 
ing with  part  of  their  entablature  ;  those 
on  the  south  side  are  unfluted,  and  the  de- 
tails of  architrave  and  frieze  unfinished, 
showing  that  the  temple  was  never  com- 
pleted. The  columns  have  square  plinths, 
the  stylobate  is  buried  in  debris.  The 
material  is  white  marble. 
LANCIANO  (anc.  Anxanum),  Italy. 

The  Bridge  is  ascribed  to  the  iii  cent., 
and  called  Diocletian's,  but  was  rebuilt  at 
the  beginning  of  the  xiii.  On  it  stands 
the  chapel  of  S.  M.  del  Ponte,  rebuilt  at 
the  same  time,  in  Gothic  style,  but  dating 
from  the  xi  century. 

S.  GiovAXXi  IS  Vexere,  a  ruined 
church  near  the  town,  is  a  basilica  with 
transept  and  crypt,  believed  to  date  from 
Justinian's  time,  and  once  adjoined  to  a 
Benedictine  monastery.  The  sculptured 
facade  of  brick  and  stone  probably  belongs 
to  the  XII  cent.,  with  alterations  of  the 

XIII. 

Sta.  Maria  Maggiore,  consecrated  in 
1227,  has  a  brick  and  stone  horizontal- 
topped  fa9ade.  with  a  handsome  wheel 
window,  the  doorway  and  windows  deco- 
rated with  twisted  shafts  and  carved  detail 
partly  Lombard  Romanesque,  partly  Xor- 
man.  The  fa9ade,  one  aisle,  and  tower 
are  original,  the  rest  modernized. 
LAOrilCEA  AD  LYCUM  (Eski  Hissar), 
Asia  Minor. 

Odeuji,  north  of  the  Stadium,  partly 
excavated  from  a  hill-side,  and  fronting 
south.  The  exterior  diameter  is  137  ft., 
that  of  the  orchestra,  77  ft.     Pococke  saw 


but  eight  tiers  of  seats,  but  thought  there 
must  have  been  at  least  twenty.  The  back 
wall  of  the  stage,  now  in  ruins,  had  three 
doorways,  the  middle  one  20  ft.  wide, 
those  on  the  sides  12  ft.  wide  ;  between 
the  doorways  and  on  each  side,  on  pedestals 
about  6  ft.  high,  were  coupled  composite 
columns.  The  marble  remains  and  sculpt- 
ures show  that  the  building  was  highly 
adorned. 

Stadum,  or  Hi2ipodrome,  excavated 
from  the  side  of  the  hill  at  the  south  end 
of  the  city.  It  was  built  79-82  A.D., 
according  to  an  inscrijjtion.  It  w'as  about 
1,000  ft.  long  and  rounded  at  each  end, 
where  there  was  an  arched  entrance  11  ft. 
wide.  Of  the  seats,  twenty-three  tiers  re- 
mained in  Chandler's  time. 

Theatre,  excavated  in  the  side  of  a 
steep  hill.  The  plan  embraces  a  little 
more  than  a  semicircle ;  the  exterior 
diameter  is  364  ft.  ;  that  of  the  orchestra, 
136  ft.,  the  distance  from  the  stage  to  the 
outer  wall  of  the  cavea  is  223  ft.;  the 
length  of  the  stage  structure  about  143  ft. 
The  seats  are  divided  by  a  precinction  or 
horizontal  corridor  about  10  ft.  wide  into 
two  ranges,  the  lower  of  twenty-two  tiers, 
the  uf)per  of  twenty-six.  The  back  wall 
of  the  stage  was  elaborately  decorated  ;  its 
columns  were  Ionic  of  unusual  design, 
like  some  in  the  Zeus  temjjle  at  Aizanoi, 
their  bells  bearing  acanthus  leaves  beneath 
the  volutes. 

There  is  an  ancient  colonnaded  street, 
extending  both  within  and  without  the 
walls  of  the  city,  also  an  interesting  aque- 
duct consisting  in  part  of  arches  of  small 
stones,  in  part  of  cylindrical  stone  pijies 
laid  on  the  surface  of  the  ground,  and  an 
extensive  necropolis. 

LAODICEA  AD  MARE.     See  Latakia. 
LA  RICCIA.     See  Jr/cr/ff. 
LATAKIA  (Ladikiyeh,  anc.  Laodicea  ad 
Mare),  Syria. 

The  Tetrapyle  Arch,  a  four-faced 
triumphal  arch,  is  due  iierhaps  to  Septi- 
mius  Severus,  who  did  much  to  beautify 


193 


LECCE 


Laodicea.  It  spaniierl  two  cross-roads, 
iiiid  is  a  mass  of  cut  stonework  a])out  40 
ft.  square  and  considerably  higher.  It  is 
pierced  by  two  archways  at  right  angles, 
and  on  the  principal  front  the  arch, 
higher  th;in  the  others,  is  flanked  by  en- 
gaged Corinthian  columns.  These  carry 
a  full  entablature,  which  bears  a  pediment, 
and  is  continued  round  all  four  sides.  An 
attic  above  it  was  decorated  with  reliefs. 
The  interior  is  covered  by  a  dome  resting 
on  an  octagonal  cornice,  whicli  is  supported 
over  the  angles  by  triangular  pendentives. 
LECCE,  Italy. 

SS.  NiccoLO  E  Cataldo,  an  interest- 
ing Eomanesque  church  of  the  xii  cent., 
rectangular  in  plan,  consisting  simply  of 
nave  and  aisles  sejiarated  by  five  pointotl 
arches  on  each  side  sj)ringing  from  square 
piers  with  a  half  column  on  each  face. 
The  aisles  are  divided  into  square  groined 
bays  by  transverse  arches  with  responds  on 
the  aisle  walls.  The  middle  bay  of  the 
nave  is  covered  by  a  lantern  and  elliptical 
dome,  the  others  by  a  slightly  pointed 
barrel-vault.  The  middle  bays  of  the 
aisles  form  a  transept,  and  show  without  in 
high  transverse  gabled  roofs.  The  front 
was  modernized  in  HQi  with  the  exception 
of  the  doorway.  The  walls  of  aisles  and 
clerestory  have  flat  pilaster-strips,  ending 
in  arched  corbel-tables.  The  central  lan- 
tern, of  conspicuously  Byzantine  character, 
elliptical  within,  is  externally  octagonal 
with  angle -sliafts  carrying  a  decorated 
round  areliivolt  on  each  face  with  :i  round 
window,  and  crowned  with  a  plain  octag- 
onal dome.  Tlie  church  was  part  of  a 
monastery  founded  by  Tancred  in  1180, 
and  replaced  an  earlier  church. 
LEGHOUX  (Livorno),  Italy. 

The  Cathedral  is  a  Renaissance  church 
built  about  the  end  of  the  xvi  cent,  from 
the  designs  of  Alessandro  I'ieroni,  called 
a  pupil  of  Vasari.  It  has  a  nave  about 
oQ  ft.  wide  without  aisles,  covered  by  a 
flat  wooden  ceiling,  the  walls  broken  by 
an  order  of  pilasters  with  six  intervals. 


each  with  a  large  window.  Flanking  the 
easternmost  bay  are  two  chapels  with 
domed  ceilings  forming  a  transept  exter- 
nally, but  closed  within  by  the  walls  of 
the  nave.  There  is  a  small  rectangular 
choir  ending  in  a  round  apse.  The  front 
has  an  arcaded  and  vaulted  portico  of 
coupled  columns  by  Inigo  Jones,  forming 
a  portion  of  the  arcades  of  the  public 
square  on  whicli  the  church  stands. 
Three  doorways  under  this  portico  give 
entrance  to  the  nave. 
LESINA,  Dalmatia. 

The  Cathedral  and  its  campanile  date 
from  the  xvi  cent.  ;  the  choir  may  be 
older.  The  fa9ade,  imitated  from  the 
duomo  of  Sebenico,  has  a  semicircular  ga- 
ble with  a  quadrant  on  each  side  closing 
the  aisles.  There  is  a  Renaissance  door- 
way with  sculptured  tympanum,  appar- 
ently older  than  the  rest.  It  is  a  three- 
aisled  church,  the  nave  modernized  and 
stuccoed.  The  choir  has  some  carved 
walnut  stalls  of  the  xv  cent.,  and  at  each 
side  of  its  entrance  stands  an  octagonal 
stone  pulpit  on  columns  of  Venetian 
Gothic,  and  a  stone  lectern. 
LIVORNO.  See  Leghorn. 
LOCRI  (anc.  Lokroi),  near  Gerace,  Italy. 

Temple  of  Peusephoxe  (?)  (Proser- 
pine). Nothing  remains  in  i<i//i  of  this 
important  Greek  temple  except  parts  of 
tlie  foundations,  which  were  discovered 
liy  Petersen  in  1889  ;  but  excavation  has 
yielded  material  for  a  jiractically  complete 
restoration,  as  well  as  of  that  of  a  much 
older  temple  on  the  same  site,  and  has 
given  important  data  for  the  character  of 
the  early  Ionic  order  of  the  temjile  and 
its  i^lastic  decoration.  The  stylobate, 
measured  on  the  uppermost  step,  is  57  ft. 
by  143  ft.;  the  cella.  0.5  ft.  by  ^(j  ft.  The 
temple  was  a  peripteros  of  six  columns  by 
seventeen  on  a  stylobate  of  three  steps, 
with  two  columns  in  ant  is  in  both  ])ro- 
naos  and  opisthodomos,  and  dated  fi-om 
al)()ut  the  middle  of  the  V  century  i:.i-. 
Tlie   Ijases   of    the    columns    with     round 


194 


LORETO 


plintlis  were  carved  in  one  piece  with  tlie 
lowest  drums.  They  are  very  like  those 
of  the  Ilera'uin  at  Samos.  The  lower  di- 
ameter of  the  shafts,  wliich  had  twenty- 
four  shallow  flutes,  was  3  ft.  7  in.  Their 
height,  iucludiug  the  capital,  is  reckoned 
at  29  ft.  The  shafts  ended  above  in 
a  beautiful  though  arcliaic  anthcniion 
monlding  and  a  plain  astragal.  The  vo- 
lutes of  the  capitals  are  very  simple,  and 
close  in  type  to  those  of  the  Heraium  of 
Sanios.  There  are  traces  of  red  color  on 
the  columns.  The  water-channels  of  the 
cornice  bore  the  usual  lion-heads.  Re- 
mains have  been  found  of  the  sculptures 
of  the  western  pediment,  the 
chief  pieces  being  :  a  triton,  a 
horse,  the  torso  of  a  youth,  and 
a  headless  female  figure,  in  Pa- 
rian marble  and  of  excellent  de- 
sign. 

The  older  temple  occupied  the 
same  site  as  its  successor,  with 
the  east  end  of  which  its  east 
end  almost  coincided,  except  for 
some  difference  in  orientation. 
The  entrance  portico  projects  so 
much  that  there  may  have  been 
a  second  range  of  columns  in  it  : 
though  it  is  more  likely  that  the 
ceiling  and  superstructure  were 
entirely  of  wood.  The  prouaos 
liad  columns,  no  doubt  two,  in 
ant  is.  The  structure  of  the 
foundations  gives  indication 
tliat  the  simple  cella  in  antis  was 
the  original  temple,  and  very 
old,  perhaps  almost  contempora- 
neous with  the  foundation  of  the 
city  early  in  the  vii  century  B.r. 
The  peristyle  was  much  later, 
perhaps  not  much  earlier  than 
the  reconstruction  of  the  v  cen- 
tury. Some  remains  were  found  of 
.sheathing  -  plates  in  terra -cotta  painted 
with  braids  and  leaf-ornaments  in  black, 
dark  red,  and  yellow,  of  archaic  design. 
Koldewey  conjectures  that  both  new  and 


old  temples  were  heptastyle,  and  that  their 
cellas  had  a  central  range  of  columns. 
The  new  temple,  exoept  for  its  greater 
length,  would  thus  practically  reproduce 
the  old,  and  both  would  then  resemble  the 
so  -  called  Basilica  at  Pajstum,  and  the 
early  temple  at  Neandria,  a  class  which 
may  have  had  more  examples  in  the  an- 
cient Greek  world  than  has  hitherto  been 
recognized. 
LORETO,  Italy. 

CuiESA  DELLA  Sta.  Casa.  The  pres- 
ent imposing  church  is  the  result  of  suc- 
cessive enlargements  and  rebuildings  of 
the  church  whicli  was  built  in  the  earlv 


Fig.  101. — Loreto,  Church  of  Santa  Casa. 

years  of  the  xiv  cent,  over  the  House  of 
the  Virgin,  transported  miraculously  from 
Xazareth  and  set  down  on  the  shore  of 
the  Adriatic.  Its  plan  is  a  Latin  cross 
about  3.30  ft.  long  and  23.5  ft.  wide  across 


195 


LUCCA 


the  transept.  Tlie  original  church  was 
Gothic,  and  tlie  (iothic  forms  are  still  pre- 
served in   the   nave  and  aisles,  which  are 


s^^^i^m^m^ 


Fig.    102.-  L.-  to,   b.,;,:j   C.i 

separated  l)y  arcades  of  six  jjointed  arches 
on  each  side  springing  from  square  piers 
with  foliage  capitals  and  stilt-blocks.  The 
bays  of  the  nave  and  aisles  are  groined,  and 
in  the  outer  wall  of  each  aisle  bay  is  a  rect- 
angular altar-niche.  The  crossing  is  cov- 
ered by  a  high  octagonal  dome  raised  on  a 
drum,  about  60  ft.  in  diameter,  supported 
by  eight  massive  piers,  which  are  joined  by 
round  arches  higher  and  broader  in  the 
four  cardinal  faces  tliaii  in  the  others. 
The  faces  of  the  drum  are  pierced  by 
square-headed  windows  enclosed  in  heavy 
moulded  architraves  and  pediment  caps, 
and  the  whole  treatment  of  this  central 
portion  of  the  church  is  in  the  style  of  the 
XVI  cent.  Renaissance.  The  plan  of  the 
eastern  half  is  very  elaborate,  the  central 
octagon  is  surrounded  by  aisle  bays,  and 
the  transept  and  choir  are  flanked  by 
aisles,  and  all  have  apsidal  ends.  In  each 
external  angle  of  the  cross  is  a  turret. 
The  Holy  House,  for  the  protection  of 
which    the    church    was  built,  occupies    a 


position  under  the  central  dome.     It  is  a 
brick    building  about  10  ft.  wide  and  30 
ft.  long  internally,  and  about  V.i  ft.  high, 
enclo.sed  witliin  a  very  splendid 
.  :?<^j     nuirble  casing  about  :i8  ft.  high, 
^.     designed    by    Bramante,    or,    as 
**"     some  say,  by  Sansovino,  who  ex- 
ecuted  it,  with  coupled  Corin- 
thian columns  standing  on  ped- 
\       ostals  and  carrying  an  entabla- 
ture and  balustrade,  the  inter- 
vals filled  with  panels   charged 
with   bas-reliefs   and  statues  in 
niches   by   Sansovino,    John   of 
Hiilogna,  and  other  masters.  The 
liiiuse  is  entered  by  bronze  doors 
executed  by  Girolamo  Lombar- 
-,     _  do.     In  the  exteri(»r,  Gothic  and 

I  "      I         Renaissance  forms  are  mingled. 

The   central   dome  and  the  fa- 
cade are  wholly  Renaissance,  the 
former  the  work  of  San    Gallo 
and    Rranu^nte,    and   occupying 
the   greater   part  of  the   xvi 
cent,   in    building — the   bold    and   pictu- 
resque front  by  Calcagni,  finished  in  1.587. 
The  facade,  in  two  stories,  is  divided  by 
coupled    Corinthian   pilasters   into    three 
compartments,   each    containing    in    the 
lower   story  a  richly  decorated   doorway. 
The  upper  story,  with  only  the  breadth  of 
the   nave,  is  covered  by  a  pediment   and 
connected  by  broad  scrolls  with  the  cornice 
of  the  order  below.     At  the  north  angle 
of  the  facade  is  a  detached  bell-towcr  with 
four    stories    of    jiilasters    and    columns 
crowned    by   a  bulbous    spire,  the    upper 
part  added  by  \'anvitclli.     (Nrr  Fii/s.  Jdl, 

II  hi. ) 

LUCCA  (anc.  Luca),  Etruria.  Italy. 

Roman  Amphitheatre,  still  surviving 
to  a  sufficient  extent  to  fix  its  plan  and 
dimensions,  though  its  interior  area  is 
now  occu2)icd  by  the  Piazza  del  Mercato. 
Portions  are  visible  of  the  exterior  walls, 
particularly  in  the  N.  E.  quadrant  and 
about  the  chief  entrance,  which  is  at  the 
eastern  extremity  of  the  long  axis.     The 


LUCCA 


exterior  facing  consisted  of  two  tiers,  eacli 
of  fifty-four  arciies  framed  by  columns. 
The  level  of  the  arena  is  11  ft.  below  the 
present  surface  of  the  piazza.  It  is  esti- 
mated that  the  amphitheatre  could  receive 
nearly  eleven  thousand  spectators.  The 
date  is  late  in  the  first  cent.  a.d.  or  early 
in  the  second.  The  exterior  axes  are  -tOO 
ft.  aiul  310  ft.  ;  those  of  the  arena  2.58  ft. 
and  1T2  ft.  The  height  of  the  exterior 
wall  was  48  ft. 

The  Cathedral  (S.  ilartino)  is  a 
very  ancient  Lombard  church  which  has 
undergone  important  changes  at  various 
times.  It  is  cruciform,  some  275  ft.  long 
and  l-tO  ft.  across  the  transept,  with  a 
nave  about  30  ft.  wide  and  aisles  23  ft. ; 
nave  -  piers  composed  of  four  pilaster- 
faces  with  octagonal  shafts  in  the  angles, 
high  pedestal-like  bases  and  large  foliated 
capitals.  The  pilaster  toward  the  nave 
is  carried  up  through  the  triforium  and 
clerestory  to  take  the  spring  of  the  trans- 
verse arches  across  the  nave.  The  nine 
nave-arches  are  round  except  the  eastern- 
most, without  mouldings  ;  and  above  them 
is  a  triforium.  opening  from  the  nave  by 
two  round  arches  to  each  bay,  each  arch 
divided  into  three  lights  with  Gothic 
tracery  in  the  heads.  Above  is  a  small 
rose  in  each  bay  under  the  jiointed  arch  of 
the  vault.  The  aisles  are  lighted  by  lan- 
cet windows  high  in  the  wall.  The  tran- 
sept has  an  eastern  aisle  with  two  bays  in 
each  arm  and  clerestory  as  in  the  nave, 
but  with  pointed  arches.  The  nave-arches, 
with  the  wall  of  the  triforium  and  clere- 
story, are  continued  across  the  tr.msept  on 
either  side.  The  choir  ends  in  a  high 
round  apse.  The  pavement  of  the  nave 
has  an  inlay  of  colored  marbles,  represent- 
ing the  Judgment  of  Solomon.  The  ex- 
terior is  of  unusual  interest.  The  faQade, 
rebuilt  in  1204,  but  of  which  the  details 
are  substantially  those  of  the  old  front, 
resembles  in  style  the  cathedral  of  Pisa, 
Irat  is  treated  with  greater  breadth  and 
richness  of  decoration,  though  with   less 


elegance  of  proportion  and  detail.  It  is 
in  four  stages,  banded  in  wliite  and  black 
marble,  of  which  the  first  consists  of  an 
open  vestibule  or  loggia  with  three  great 
round  arches  springing  from  comjiound 
piers  and  surrounded  with  moulded  and 
decorated  archivolts.  Within  the  vesti- 
bule the  wall  is  panelled  by  pilasters  and 
blind  arches,  three  of  which  contain  en- 
trance doorways  with  bas-reliefs  in  the 
tymi^ana.  That  over  the  left-hand  door 
is  a  Deposition  by  Niccolo  Pisano,  dat- 
ing from  1233.  The  upper  stages  con- 
sist of  arcades  on  columns  extending  the 
whole  breadth  of  the  front  and  crouching 
beneath  the  sloping  eaves  of  the  aisles. 
The  columns  are  of  varied  design,  the 
shafts  plain,  twisted,  coupled  or  covered 
with  sculpture  in  relief  ;  and  the  spandrels 
are  charged  with  an  inlay  of  black  and 
wliite  marble  rei^resenting  hunting  scenes 
with  men  and  animals  in  vigorous  action. 
Kound-arched  windows  in  each  of  these 
galleries,  half  hidden  behind  the  columns, 
give  light  to  the  interior.  The  upjjer 
gallery  covers  only  the  breadth  of  the 
nave.  A  tall  square  campanile  rises  from 
the  south  angle  of  the  front  with  a  bat- 
tlemented  top  and  with  its  many  stories 
separated  by  strong  arched  corbel-tables, 
under  which  are  narrow  round  -  headed 
windows  ijicreasing  in  number  with  each 
story.  The  sides  of  the  church  are  ele- 
gant in  design.  The  interior  bays  are 
indicated  by  fiat  panelled  buttresses,  termi- 
nating in  gabled  niches.  Each  bay  con- 
tains a  blind  arch,  under  which  is  a  gabled 
lancet  window  and  above  it  a  blind  arcade 
with  a  cornice  and  pierced  balustrade. 
The  wall  is  everywiiere  banded  with 
courses  of  black  marble.  The  aisle  roofs 
are  flat,  and  above  them  the  clerestory 
wall  is  ornamented  with  a  blind  arcade  on 
columns  and  a  rose  window  in  each  bay. 
The  east  end  is  also  noteworthy.  It  has 
a  blind  arcade  enclosing  broad  round- 
arched  windows,  and  above  this  an  open 
arcaded  gallery  with  smaller   arches   and 


197 


LUCCA 


detached  columns  cro^\aied  by  a  dec- 
orated cornice.  This  treatment  is  con- 
tinued around  tlie  ajise.     The  ehnrcli  aji- 


103.— Lucca.  Cathedral. 


pears  to  have  been  founded  al)out  the 
middle  of  the  vi  cent,  and  destroyed  by 
war  not  long  after.  It  was  rebuilt,  and 
after  bccomina;  ruinous  was  again  restored 
from  10.50  to  1070.  being  consecrated  in 
the  latter  year.  The  front  was  rebuilt  in 
1:204  by  (iiudetto,  the  transept  and  per- 
haps tiie  apse  from  1308  to  1320.  {See 
Fir/.  103.) 

Palazzo  GriNroi,  a  Gothic  palace,  in- 
teresting for  the  simplicity  and  elegance 
of  its  design,  and  its  perfect  preservation. 
It  lias  two  fa(;ades  of  brick  and  terra-cotta, 
of  whicli  the  larger  is  about  85  ft.  long. 
The  first  story  is  an  arcade  of  round 
arches,  nearly  15  ft.  broad,  springing 
fi-om  low  plain  square  piers  of  cut  stone  ; 
the    entrance    arch    being    distinguished 


from    the    others   by    slightly    increased 
height   and    additional    mouldings.      The 
two  upper  stories  consist  of  brick  arcades, 
enclosing  each  a  grou})  of 
four   narrow  pointed  and 
cusped  openings  divided 
by  slender  shafts  with  fo- 
!   ItW-'^'  liated  capitals  and  sur- 

("T^^J  rounded    by   an   archivolt 

|j|.  {.  decorated  with  ball-flowers. 

--'tJl^  Beneath  the  string-courses 

.„  are  ranged  singular  round 

fJl'S  openings  or  oculi,  with 

richly  decorated  mould- 
ings. The  side  front  is 
prolonged  in  a  wing  of 
somewhat  later  construc- 
tion with  two-light  win- 
dows under  l)earing-arches, 
at  the  extremity  of  which 
rises  a  square  battleraent- 
ed  tower,  of  stone  at  the 
base  and  of  brick  above, 
al>out  140  ft.  high. 

S.  AxASTA.sio,  a  little 
church,  consisting  only  of 
a  nave  and  apse,  with  a 
lateral  campanile,  but  in- 
teresting as  a  simple  Lom- 
bard building  of  the  viii 
cent.,  with  alterations  of  the  xiir.  It  is 
of  brick,  banded  with  white  marble,  with 
a  dado  of  the  .same.  The  walls,  the  apse, 
and  front  and  side  doors  are  of  the  first 
period  ;  the  doors  of  the  kind  charac- 
teristic of  Lucca,  with  heavy  pilasters  and 
caps  bearing  animals,  heavy  carved  lintels 
carrying  stilted  round  arches  with  impost- 
mouldings  and  solid  tympana.  The  two- 
light  windows  high  in  the  fa9ade  and  the 
arc;ided  brick  cornices  are  xiii  cent, 
woik  :  the  open  belfry  stage  is  later. 

iS.  Fkeuiaxo,  an  ancient  Lombard 
church,  originally  built  in  the  vi  cent., 
just  outside  the  city  walls,  and  rebuilt  in 
(3!)0.  It  was  a  five-ai.sled  basilica,  some- 
thing over  200  ft.  \\\  length  by  80  ft.  in 
breadth,    with     twelve    bavs    divided    bv 


LUCCA 


twenty-two  cohumis  mostly  antique,  suj)- 
portiug  round  arches,  and  a  liigli  clere- 
story. The  nave  was  covered  with  an  02jcii 
timber-roof  decorated  with  gold  and  carv- 
ing ;  this  has  been  replaced  during  the 
jjresent  century  by  a  simpler  wooden  roof. 
The  aisles  are  covered  with  groined  vault- 
ing in  square  bays,  but  the  outer  aisles  are 
now  converted  into  square  chapels.  The 
nave  terminated  in  a  round  eastern  apse. 
But  when  the  town  walls  were  rebuilt  in 
1260,  the  church  found  itself  within  the 
walls  and  its  orientation  was  reversed. 
The  eastern  ajise  was  taken  down  and  re- 
built on  the  west  end,  and  a  new  fa<;ade 
built  at  the  east  end.  An  atri- 
um was  added,  Avhicli  was 
burned  in  1314  and  not  replaced. 
The  present  front  has  three  gal- 
leries of  columns  with  horizontal 
entablatures,  a  mosaic  in  the  ga- 
ble and  an  eagle  crowning  the 
apex.  The  fine  apse  is  lofty, 
with  two  stories  of  round-arched 
windows  and  an  eaves-gallery  of 
tall  Corinthian  columns  bearing 
a  horizontal  cornice.  At  the 
angle  stands  a  very  high  de- 
tached square  campanile  with  a 
solid  base  as  high  as  the  aisle 
walls  and  five  stories  of  luirrow 
round-arched  windows  generally 
grouped  and  multiplying  toward 
the  top,  with  an  additional  bel- 
fry stage  of  clumsy  modern 
arches.     {See  Fig.  1<H.) 

S.  Giovanni,  an  old  basilica 
over  whose  age  there  has  been 
much  controversy.     It  has  ii 
nave  and  aisles  of  six  arcaded 
bays,  carried  on  columns   of 
which  some  apparently  are  old, 
flat  ceilings,  projecting  transept 
and  apse,  and   a  battlemented 
tower.    Out  of  the  left  transept  arm  opens 
an     unusually    large    square    baptistery, 
about  50  ft.  wide,  covered  with  an  eight- 
celled  domed  vault.     The  church,  Lom- 


bard in  asi^ect,  has  been  assigned  both  to 
the  IX  and  the  xii  centuries.  A2ipareiit]y 
it  was  first  called  Sta.  lleparata,  and  the 
name  of  tS.  Giovanni,  once  given  to  the 
baptistery,  has  extended  to  the  whole. 
The  cofEered  ceiling  of  the  nave  and  the 
fa9ade  are  modern,  though  the  old  west 
middle  door  remains. 

Sta.  Giulia,  a  small  rectangular  church 
without  aisles  or  transept,  but  with  an 
eastern  apse,  built  in  the  second  half  of 
the  X  cent,  by  Bislioi^  Conrad,  and  re- 
stored early  in  the  xiii  centuiy.  It  has  a 
characteristic  fajade  of  white  marble,  with 
occasional  bands  of  black  marble.     Three 


Fig,  104. — Lucca,  S,  Frediano,  Apse. 


blind  arches  on  flat  pilasters  with  foliated 
capitals  occupy  the  whole  breadth  of  the 
front  and  rather  more  than  half  its  height. 
In   the   middle   arch   is  a  square  -  headed 


199 


LUCCA 


doorway  with  a  deeoratod  cornice  joining 
the  jnlaster  capitals,  and  a  bas-relief  in 
the  arch-head.  A  pointed  two-light  win- 
dow is  tlie  only  other  opening  in  this  sim- 
ple front,  which  finishes  with  a  low  gable, 
and  a  ihit  corlK'l-table  with  cnsped  arches 
following  its  rake.  The  sides  and  east  end 
are  of  brick,  with  narrow,  round-headed 
cuspcd  windows,  the  small  apse  finishing 
with  a  moulded  cornice  and  arched  corbel- 
table.  A  square  campanile,  attached  to 
the  N.  E.  corner,  rises  scarcely  above  the 
east  gable,  and  is  apparently  unfinished. 
The  buildings  attached  to  the  church  on 
the  north  are  of  the  same  character  with 
it  and  apparently  of  the  same  age. 

S.  GirsTO.  A  XII  cent.  Lombard 
clmrch  with  many  of  the  characteristics  of 
the  Pisan  school.  It  has  a  fine  front  of 
white  and  black  marl)lc.  with  three  char- 
acteristic doorways,  of  which  the  central 
one  is  of  great  beauty.  The  jambs  are 
flat  23ilasters,  with  large  foliated  capitals. 
each  with  a  rampant  animal  at  the  angle. 
These  sujjjjort  a  heavy  sculptured  lintel. 
Over  this  is  a  round  arch  with  banded  and 
moulded  archivolt  si^ringing  from  lions 
upon  pedestals  and  enclosing  a  bas-relief  of 
the  Virgin  and  Child.  Over  the  doorway 
the  central  portion  of  the  front  is  carried 
up  in  two  stories  of  arcades  with  columns 
ending  in  a  low  gable.  The  upper  part 
of  the  front  is  banded  with  black  and 
white  marble.  This  front  is  presumed  to 
have  been  built  about  1150,  largely  out  of 
the  materials  of  an  older  front,  and  may 
j^erhaps  exhibit  the  detail  of  the  Lom- 
bard style  of  the  Viii  century.  The  inte- 
rior has  been  modernized. 

Sta.  M.\ria  Froiu'iviTAs,  an  early  flat- 
ceiled  basilica,  apparently  rebuilt  in  the 
XII  century.  It  is  cruciform,  with  pro- 
jecting transept  and  an  eastern  apse.  The 
arcades  of  the  nave,  in  eight  bays,  rest  on 
early  columns,  but  are  broken  in  the  mid- 
dle by  a  jiair  of  j)iers.  It  is  Loml)ard  in 
st\de,  and  has  an  eaves-gallery  round  the 
apse  with  lintels  instead  of  arcades.     The 


front,  however,  was  remodelled  in  l.ilC, 
and  the  interior  height  increased. 

S.  MiCHELE,  a  characteristic  Lombard 
church  of  the  Pisan  type.  It  is  a  cruci- 
form basilica,  with  nave  and  aisles  sej^a- 
rated  by  seven  stilted  round  arches  on 
each  side,  resting  on  columns  of  white 
marble  with  somewhat  fantastic  capitals,  a 
high  triumphal  arch  opening  into  a  broad 
transept  with  square  ends,  and  a  round 
apse  tlie  full  breadth  of  the  nave.  The 
fa9ade,  rebuilt  toward  the  end  of  the 
XII  cent,  and  again  completely  renewed 
since  1870,  is  most  interesting.  It  is  con- 
structively a  mere  screen,  having  no  rela- 
tion with  the  church,  but  illustrating,  in  a 
highly  characteristic  manner,  the  peculi- 
arities of  the  Pisan  school.  It  is  divid- 
ed into  five  .stories  of  arcades,  of  which 
the  first  story  has  seven  high  round  bliiul 
arches,  three  of  them  containing  door- 
ways, the  second  and  third  fourteen  arches 
each  and  the  upjjcr  two  each  six,  covering 
only  the  nave,  though  rising  high  above 
its  roof.  The  low  gable  is  crowned  by  a 
statue  of  the  archangel  Michael  with 
bronze  wings.  The  distinction  of  the 
fa9ade  is  in  tlie  variety  and  character  of 
its  details.  It  is  executed  throughout  in 
white  and  green  marble.  The  columns  of 
the  arcades  are  extremely  varied,  some 
shafts  are  quite  plain,  some  are  sculpt- 
ured, some  inlaid  with  marble,  some  are 
coupled  and  bound  together  in  the  mid- 
dle, with  a  single  capital  and  base.  The 
cornices  and  string-courses  are  carved 
with  foliage  and  animals  in  relief,  and  the 
wall  over  the  arches  is  covered  with  an  in- 
lay of  panels  of  various  forms,  arranged 
quite  at  random,  partly  with  geometrical 
patterns,  but  for  the  most  part  represent- 
ing hunting  scenes.  These  designs  though 
rude  are  spirited,  the  figures  are  of  white 
marble  on  a  ground  of  dark  green  serjjcn- 
tine.  The  sides  of  the  church  have  two 
stories  of  arcades  in  the  ai.sle  wall,  and  a 
plain  clerestory  with  round-arched  win- 
dows.     A  square  campanile  stands  over 


200 


LFCERA 


the  south  transept.  The  church  was 
founded  in  T(J4,  liut  rebuilt  in  part  or  in 
wliole  in  811  and  845.  lu  its  jtresont  as- 
])cct  it  dates  presunudjly  I'roin  the  xii 
century. 

S.  Paolixo,  a  Renaissance  cruciform 
church,  designed,  according  to  Vasari,  by 
Bacio  di  Moutelujio,  and  dating  from  1522, 
of  imposing  design,  tliougli  not  large.  Its 
lengtli  is  about  150  feet,  its  breadth  G3  ft. 
It  is  divided  within  by  transverse  round 
arches  into  five  oblong  bays.  A  barrel- 
vaulted  nave  is  jirolonged  into  a  square 
choir,  intersecting  a  transept  of  similar 
design.  Two  superposed  orders  of  plain 
pilasters  on  pedestals  arc  carried  round 
the  whole  interior.  Round  arches  open 
from  the  nave  into  the  aisles,  and  over 
them  are  small  pedimcnted  windows  in 
the  intervals  of  the  upper  order.  Lu- 
nettes between  cross  ribs  intersect  the 
nave  vault,  which  springs  from  the  upper 
entablature.  The  scpiare  choir  is  covered 
by  barrel  vaults,  the  crossing  by  a  flat 
dome.  The  exterior  is  of  marble  and  its 
architecture  is  in  exact  accord  with  the 
interior.  Three  orders  of  jjiliisters  on 
jiedestals  divide  the  height  of  the  walls  ; 
the  front  has  a  square  doorway  in  the 
centre  flanked  by  round  niches  enclosing 
statues ;  in  the  narrowed  second  story, 
which  is  flanked  by  scroll-buttresses,  are 
three  square  windows  with  pilasters  carry- 
ing entablature  and  pediment.  The  third 
story  apes  the  first  and  second,  with  simu- 
lated nave  and  aisles. 

Villa  Guixigi,  an  imposing  and  ele- 
gant country-house  now  used  as  a  public 
hospital,  of  which  the  plan  is  a  rectangle 
about  275  ft.  long  and  50  ft.  Aeeyi,  with 
an  open  loggia  or  entrance -hall  in  the 
middle,  the  approach  to  which  makes  the 
chief  feature  of  the  long  facade,  consist- 
ing of  eight  round  arches  supported  on 
square  stone  piers  with  leafed  capitals. 
On  each  side  of  this  arcade  are  seven 
small  plain  square  windows  set  high  in 
the  wall.     The  second  story  is  a  round- 


arched  arcade  of  twenty  arches,  each  en- 
closing a  group  of  three  narrow,  pointed 
and  cusped  arch(>s  with  a  window  in  the 
middle  one. 
LUCERA,  Italy. 

The  Cathedral,  begun  in  the  year 
1300,  and  consecrated  in  October,  1302,  is 
a  cruciform  brick  Gothic  church  about 
190  ft.  long  and  121  ft.  broad  across  the 
transept,  with  nave  and  aisles  in  six  bays 
of  arches  sj^ringing  from  square  jiiers  with 
half  columns  of  verd-antique.  The  nave 
opens  into  the  transept  Ijy  one  great 
triumphal  arch  sjiringing  from  a  column 
of  travertine  on  each  side  standing  on  an- 
other of  verd-antique,  from  which  it  is 
separated  by  a  strong  jn-ojecting  corbel. 
The  transept  has  three  apses  on  its  east 
wall,  corresponding  to  the  nave  and  aisles  ; 
the  vault  of  the  middle  apse  is  adorned 
with  painting.  The  nave  and  transept 
are  covei-ed  by  wooden  ceilings,  the  aisles 
by  groined  vaults.  Under  the  transej)t  is 
a  vaulted  crj-jjt.  The  front  is  simpile  and 
rude.  The  three  plain  pointed  doorways 
are  covered  by  flat  gables — that  to  the 
south  is  in  the  base  of  a  square  tower  of 
several  stages  divided  by  thin  strings ; 
the  upper  stage  octagonal,  with  a  two-light 
pointed  and  traceried  window  in  each  face 
and  a  low  octagonal  roof.  Under  the  flat 
nave  gable  is  a  wheel  window.  The  side 
divisions  have  horizontal  cornices.  The 
central  apse  of  the  east  end  is  flanked  by 
two  turrets. 
LUGNANO.  Italy. 

The  Church  of  Sta.  Maria  Assunta, 
though  of  small  dimensions,  is  of  impor- 
tance as  one  of  the  very  few  churches  en- 
tirely from  the  hand  of  the  Roman  school 
of  medieval  artists  usually  called  the  Cos- 
mati.  It  is  cruciform  in  jjlau,  with  a 
porch,  three  aisles,  a  vei'y  long  transept 
extending  two  bays  beyond  the  side-aisles, 
a  single  apse  and  a  crypt.  The  porch, 
extending  across  the  entire  fa9ade,  con- 
sists of  an  architrave  supported  by  col- 
umns, similar  in  general  arrangement  to 


LYDDA 


tlie  porches  in  Rome,  and  decorated  with 
mosaics  and  sculptures.  The  fa9ade  has 
a  rt)sc-winilo\v  in  a  square  formed  of  a 
mosaic  frieze,  on  each  side  of  which  is 
a  two-liglit  round-headed  window.  Tlie 
body  of  tiie  chureli  consists  of  five  bays 
with  rather  heavy  round  piers  supjiorting 
round  arches  and  topped  by  varying  ca2ii- 
tals  of  rudimentary  foliated  and  geomet- 
ric designs.  Tlie  nave  is  covered  by  a  tun- 
nel-vault, the  aisles  by  cross-vaults,  whicli 
were  ajiparently  substituted  at  some  time 
for  the  original  covering.  The  cryjit, 
which  is  entered  by  two  flights  of  steps 
from  the  aisles,  is  an  elegant  and  original 
structure  by  a  more  masterly  hand  than 
the  rest  of  the  church.  Ten  delicate 
monolithic  columns  —  there  were  origi- 
nally fourteen — with  large  and  spreading 
foliated  capitals  of  careful  workmanship 
support  four  architraves  (at  first  six)  on 
which  the  floor  of  the  choir  rests.  [A.  L. 
F.,  Jr.] 
LYDDA  (Lud),  Palestine. 

The  Ciiuiicii  OF  St.  George  is  an  in- 
teresting fragment  illustrating  the  church 
of  Sebaste  (Samaria)  whicli  it  greatly  re- 
sembles. There  remains  one  bay  each  of 
a  nave  and  two  aisles  with  their  three 
eastern  apses,  of  Byzantine  form,  or  round 
within  and  octagonal  without,  the  apses 
domed,  the  bays  groin  -  vaulted.  The 
pointed  arches,  clerestory,  clustered  j)iers 
and  vaultiiiu'  all  indicate  work  of  the  sec- 
ond half  of  the  xii  cent.  ;  the  bases  and 
capitals  and  a  carved  cornice  about  the 
main  apse  are  of  fully  developed  Roman- 
esque work,  such  as  was  mingled  with  the 
work  of  the  crusaders  at  that  period. 
JIADERXO,  Lago  di  Garda,  Italy. 

Tlie  C'lUKcii  is  a  small  basilica  of  in- 
tei'esting  plan,  built  in  the  xi  or  xii  cent., 
three-aisled  and  without  transept,  vaulted 
througliout.  The  four  bays  of  the  luive 
are  nearly  square,  those  of  the  narrow 
aisles  consequently  very  oblong,  divided 
by  clustered  piers  with  quasi-Corinthian 
capitals.     These  carry   in   the   first  three 


bays  broad  pointed  arches.  In  tlie  last, 
wJiich  is  the  choir,  the  arcade  is  subdi- 
vided liy  two  small  round  arches  borne  liy 
a  small  column,  and  the  bay  is  covered  l)y 
a  hemispherical  dome  carried  on  (icndi'n- 
tives  of  singular  construction.  A  later 
sipuire  cliance!  takes  the  place  of  the  orig- 
inal round  apse. 

MAGNESIA  (ad  Maeandrum).  Asia 
Minor. 
Tkmi'le  of  Artemis  (Diana)  Letko- 
I'liKYKN'E,  probalily  transferred  from  the 
original  site  at  Leucojihrys.  It  was  orig- 
inally Ionic,  dipteral,  of  the  v  cent.  B.C., 
and  was  rebuilt  and  made  pseudo-dipteral 
3:50-300  li.c,  liy  llermogenes.  Strabo  says 
it  yielded  in  grandeur  only  to  the  temples 
of  Apollo  Didymteus  at  Miletus,  and  of 
Artemis  at  Ephesus.  It  was  pillaged  and 
burned  by  the  Persians,  and  restored  dur- 
ing the  reigns  of  Nerva,  Hadrian,  and 
Trajan.  It  was  exjilored  by  the  French 
commission  of  18-i3.  The  remains  now  lie 
in  a  vast  pile  of  fragments,  and  show  that 
the  temple  stood  in  a  large  peribolos  or 
enclosure,  surrounded  by  a  double  Dnric 
jiortico  with  propliyl^a  in  front,  'i'hc 
peribolos,  the  walls  of  which  are  still 
nearly  20  ft.  high,  was  adorned  witii 
many  statues,  on  pedestals  placed  at  regu- 
lar distances  in  front  of  the  columns  of  the 
portico.  In  the  middle  was  the  tcnijile, 
which  was  Ionic,  octastyle,  jiseudo-dip- 
teral,  on  a  stylobate  of  eight  steps  (jirob- 
ably  in  front  only),  with  fifteen  columns 
in  each  flank  and  two  between  anta'  in 
j)ronaos  and  opisthodomos  ;  ground  plan, 
198  ft.  by  10(5  ft.,  measured  on  the  high- 
est step.  The  diameter  of  tlie  columns 
at  the  base  was  4|  ft.,  at  the  neck,  4  ft.  ; 
their  height  (base  and  capital).  40  ft.  S  in.  ; 
height  of  entablature,  9  ft.  10  in.  About 
a  third  of  tlie  beautiful  frieze,  of  Roman 
epoch,  sculptured  with  reliefs  represent- 
ing the  war  of  the  Amazons,  is  now  in 
the  Louvre.  The  material  is  white  mar- 
ble from  Mt.  Pactyas.  Recent  excava- 
sions  by  the  German  Institute  at  Athens 


MALPAGA 


show  that  almost  all  the  architectural 
members  are  still  iu  existence,,  lying  about 
the  stereobate,  which  is  also  to  a  large 
extent  preserved.  Three  building  periods 
are  easily  distinguishable  in  the  remains  : 
(rt)  the  archaic  dipteral  temple  with  Ionic 
columns  of  I'oros  stone  having  thirty-two 
flutes,  ascribed  to  the  v  cent.  B.C.  ;  (J)  the 
pseudo-dipteral  temple  of  white  marble, 
built  by  Hermogenes  ;  {r)  a  Roman  res- 
toration, to  which  belong  the  foliage- 
frieze  of  the  cella-wall,  and  the  stoas  and 
wall  of  the  peribolos. 

Theatre,  near  the  middle  of  the  city, 
excavated  in  the  slope  of  Mt.  Thorax. 
There  may  have  been  as  many  as  fifty 
tiers  of  seats,  and  there  are  remains  of  an 
arched  entrance  on  each  side.  Both  the 
earliest  and  the  latest  stage-structures  in- 
cluded five  rooms,  and  the  German  Insti- 
tute discovered  in  1801  a  vaulted  under- 
ground passage  leading  from  the  middle  of 
the  orchestra  to  the  interior  of  the  stage 
structure,  as  in  the  theatres  of  Eretria  and 
Sicyon.  The  construction  is  of  the  iv 
cent.  B.C.,  comj^leted  and  altered  in  Hel- 
lenistic and  Roman  times. 
MALPAGA.  Italy. 

The  Castle,  one  of  the  later  examples 
of  the  fortified  houses  of  the  great  cap- 
tains of  the  Middle  Ages.  It  is  a  quad- 
rangular pile  of  buildings  surrounding  a 
court-yard,  the  greater  jjart  of  the  exter- 
nal wall  now  hidden  beliind  a  mass  of 
later  additions,  but  showing  above  these  a 
strong  line  of  forked  battlements  crowning 
the  wall,  and  four  angle  towers  not  project- 
ing from  it,  of  which  one  rises  into  an  ad- 
ditional story  on  bold  machicolations.  A 
low  enclosing  wall,  also  with  forked  bat- 
tlements, surrounds  the  castle  at  a  little 
distance,  the  intervening  space,  formerly 
free,  being  now  covered  by  the  later  build- 
ings above  mentioned.  One  of  the  an- 
cient drawbridges  over  the  moat  still  ex- 
ists. The  walls  of  the  court-yard,  carried 
on  pointed  arches,  are  adorned  by  frescoes 
illustrating  picturesque  incidents  in   the 


life  of  Colleoni.  The  ancient  banquet- 
hall  and  some  of  the  other  apartments  are 
also  decorated  with  paintings.  Tiie  castle 
was  built  late  in  the  xv  cent,  by  Bar- 
tolomeo  Colleoni,  the  famous  condottiere, 
whose  statue  stands  belV)re  the  church  of 
SS.  Giovanni  e  Paolo  at  Venice. 
MALTA.  See  Vnhtfa. 
MAXTINEA,  Arcadia,  Greece. 

The  Agora  was  surrounded  with  por- 
ticoes ;  the  remains  surviving  on  three 
sides  appear  to  be  of  Roman  date.  It  con- 
tained several  shrines  and  temples,  and 
was  beautified  with  statues  and  exedras, 
including  the  elaborate  and  highly  deco- 
rated exedra  of  Epigone,  of  semicircular 
plan  and  covered  with  a  semi-dome,  which 
formed  the  central  feature  of  a  market- 
structure.  The  remains,  though  testify- 
ing to  Roman  reconstructions,  undoubted- 
ly preserve  the  Greek  dispositions,  and  are 
among  the  very  few  surviving  examples  of 
a  fully  developed  Greek  agora. 

BouLEUTERiox,  or  Council-house,  in 
the  agora.  The  foundations,  of  good  Hel- 
lenic masonry,  occupy  a  rectangle  about 
119  ft.  by  C>2  ft.,  and  indicate  a  building 
with  a  projecting  wing  at  each  end.  The 
original  back  wall,  which  now  divides  the 
building  in  the  middle,  is  pierced  at  the 
east  end  by  a  double  door,  which  leads  by 
flights  of  steps  to  the  portico,  originally  of 
ten  columns,  which  is  of  later  date  than 
the  main  structure.  The  columns  are 
Ionic,  with  convex  flutings,  and  are  simi- 
lar in  style  to  those  of  the  Philippeum  at 
Olympia.  They  probably  date  from  the 
Macedonian  epoch.  At  the  west  end  were 
two  chambers  divided  from  the  remain- 
der of  the  structure. 

Double  Temple,  divided  by  a  parti- 
tion-wall in  the  middle,  one  chamber  be- 
ing dedicated  to  Asklejjios,  and  the  other 
to  Leto  (Latona),  A]K)11(),  and  Artemis 
(Diana). 

Fortifications,  about  two  and  a  half 
miles  in  extent,  with  some  one  hundred 
and  twenty  towers,  round  at  the  gates  and 


MANTUA 


square  elsfwlioro,  at  intervals  of  8.5  ft. 
Ten  gates  and  numerous  posterns  are  still 
recognizable.  The  walls,  probably  built 
after  :j;  1  n.c,  consist  of  a  ba.se,  from  i  ft. 
to  G  ft.  high,  of  large  stones  of  trapezoid- 
al form  ill  regular  courses,  the  intervals 
between  the  large  blocks  being  filled  with 
small  stones.  The  upper  jiart  of  the  wall 
was  of  unl)urned  bricks. 

Theatre,  near  the  temple  of  Hera. 
Portions  of  the  lower  tiers  of  seats  sur- 
vive, displaying  eight  stairways  and  seven 
cunei.  The  auditorium  is  supported  by 
an  artificial  mound  with  a  retaining  wall 
of  polygonal  masonry.  On  either  side  a 
fliglit  of  steps  gave  access  from  the  ex- 
terior to  the  diazoma,  and  two  others 
penetrated  the  theatre  from  the  back. 
The  stage-structure  shows  the  usual  con- 
structions of  Roman  date.  The  diameter 
of  the  theatre  is  about  "217  ft.,  that  of  the 
orchestra  TO  ft. 
:MANTUA  (Mantova),  Italy. 

Castello  ni  CoRTE,  the  ancient  castle 
of  the  Gonzagas,  the  reigning  family  of 
Mantua  during  nearly  three  centuries.  It 
stands  near  the  Ducal  Palace  (C'orte  Keale, 
q.  v.).  of  which  indeed  it  should  be  consid- 
ered a  portion,  though  detached,  and  on 
the  edge  of  the  lake  whose  waters  fill  a 
basin  in  the  middle  of  which  the  castle  is 
placed.  It  is  a  simple  but  imposing  mass 
of  building  with  plain  walls  of  brick. 
Hanked  by  strong  projet^ting  angle-towers, 
a  high  battering  base,  a  heavy  machico- 
lated  cornice,  and  forked  battlements  now 
walled  up  and  covered  with  a  roof.  The 
original  windows  have  mostly  disappeared, 
and  new  openings  have  ])een  made  to  suit 
tlie  later  purposes  of  the  building,  which 
contains  the  archives  of  state.  Several  of 
the  principal  rooms  were  adorned  with 
frescoes  by  Andrea  Mantegna,  now  near- 
ly obliterated.  The  castle  is  thought  to 
have  been  built  about  the  end  of  the  xiv 
century. 

The  Catiiedkal.  dedicated  to  St.  Peter, 
originally  consecrated  in  ^iS'i,  was  rebuilt 


in  Gothic  style  in  lo'.t.j.  Tlie  exterior 
was  left  unfinished  until,  in  ITGl,  the  front 
was  completed  in  baroco  style  by  Bas- 
chiera.  A  portion  of  the  south  aisle  wall 
still  shows  the  character  of  the  original 
design,  consisting  of  a  series  of  sharp  ga- 
bles, one  to  each  bay,  separated  by  but- 
tresses terminating  in  pinnacles,  as  in  S. 
Petronio  at  Bologna,  the  whole  being  of 
brickwork.  The  ancient  campanile  still 
stands,  but  uufiuished.  The  interior,  re- 
built after  a  fire  in  1545,  is  ascribed  to 
Giulio  Komano,  who,  however,  died  in 
1.3-t(j.  It  has  double  aisles  and  transept, 
and  a  dome  at  the  crossing.  The  main 
piers  are  faced  with  Corinthian  pilasters 
and  carry  arches  ;  the  nave  is  covered 
with  a  flat  wooden  ceiling,  panelled,  iind 
richly  decorated.  The  idea,  says  Gurlitt, 
of  rooting  the  high  nave  flat,  the  inner 
aisles  with  coffered  barrel-vaults,  the  out- 
er aisles  with  coved  ceilings,  the  cha])cls 
again  with  barrel-vaults  at  right  angles  to 
the  nave,  is  cpieer  enough  to  have  sprung 
up  in  Giulio's  head. 


204 


MANTUA 


The  CoRTE  Reale,  or  DuluI 
Palace,  is  an  extensive  mass  of 
buildings  of  various  dates  and 
styles,  begun  in  13U3  under  (Juido 
Huonacolsi,  one  of  the  earliest 
lords  of  Mantua,  and  continued 
and  extended  by  successive  lords 
and  dukes  up  to  the  middle  of 
the  XVI  century.  It  really  com- 
prises the Castello di  Corte  {q.  v.). 
This  is  extended  by  later  con- 
structions, comprising  galleries, 
halls  of  state,  ball-rooms,  apart- 
ments for  the  royal  residence,  be- 
sides a  theatre  and  a  church  sep- 
arated by  various  piazzas  and 
gardens  covering  an  immense  ex- 
tent of  ground,  and  containing, 
it  has  been  said,  not  less  than 
five  hundred  rooms.  The  forms 
of  the  earlier  architecture  have 
been  for  the  most  part  lost, 
through  repeated  alterations  and 
rebuildings.  But  two  facades 
still  remain  substantially  ww- 
changed,  which  furnish  a  char- 
acteristic and  imposing  example 
of  the  civic  Gothic  of  the  xiv 
cent,  in  the  north  of  Italy.  They  are 
comjiosed  with  a  street  story  of  high 
open  pointed  arches  with  voussoirs  alter- 
nately black  and  white,  carried  on  lo^\- 
columns  with  foliated  capitals — and  an 
upijcr  story  of  twin  pointed  windows  en- 
i-onipassed  by  high  jtointed  bearing-arches 
with  cusped  circles  beneath.  These  win- 
dows are  executed  in  red  brick  except  for 
the  mullion-shafts  and  alternate  voussoirs. 
Between  the  upper  and  lower  story  is  a 
broad  surface  of  plain  brick  wall,  of  which 
the  original  openings  have  been  filled  up 
and  replaced  by  plain  square  windows. 
The  high  unbroken  fronts  end  in  small 
brick  cornices  and  tall  forked  battlements. 
The  great  apartments  were  sumptuously 
decorated  in  the  xvi  cent.,  chiefly  by  Gi- 
ulio  Romano  and  I'rinuiticcio  ;  the  walls 
for  the  most  part  have  broad  pilasters  with 


Fig    106- — Mantua,  S-  Andrea,  Inteiior. 

composite  capitals  and  rich  cornices,  very 
elaborately  ornamented  with  arabesques  in 
relief,  jiicked  out  with  gold  and  color ;  the 
ceilings  generally  of  wood,  vaulted  and 
])anelled  and  painted  with  figure  subjects  ; 
the  doors  richly  carved  and  gilded.  The 
palace  was  for  three  centuries  the  home  of 
the  Gonzagas,  whose  name  is  closely  asso- 
ciated with  the  rise  and  fall  of  this  once 
brilliant  and  powerful  city. 

Palazzo  della  Eagioxe  (Town  llall). 
This  building,  completed  about  1"^50,  has 
undergone  such  changes  to  fit  it  for  its 
modern  uses  that  little  of  its  original  char- 
acter remains.  The  characteristic  entrance 
gateway  is  substantially  unaltered.  It  is 
a  square  building  of  three  stories,  of  which 
the  lower  is  pierced  with  a  single  broad 
round  archway  of  brick  with  occasional 
voussoirs   of   stone.     The   passage  is  not 


205 


MARATHOS 


vaulted,  but  spaiiiuMl  liy  fmir  round  arclies 
of  stone,  at  equal  distances.  Above  the 
arch  and  two  broad  round-arched  win- 
dows over  it.  now  walled  up,  is  a  graceful 
oiieu  gallery  of  eight  narrow  roiand-headed 
arches,  divided  by  slender  marble  columns 
coupled  in  the  depth  of  the  wall.  A  sim- 
ple projecting  band  of  brickwork  carried 
on  small  corbels  terminates  the  front.  A 
tall  campanile  attached  to  the  palace  dates 
from  1478. 

Palazzo  del  Te.  a  famous  conntry- 
house  outside  the  walls  of  tlie  city,  built 
and  decorated  by  (iiulio  Ixomano  (his  most 
famoixs  work)  in  or  ahout  1.337  for  the 
duke  of  Gonzaga.  The  buildings  are  of 
a  single  story,  surrounding  an  interior 
court  about  120  ft.  square,  the  exterior 
measurement  being  about  180  ft.  on  each 
side.  The  garden  fa9ade  has  a  j)rojecting 
centre  with  three  round  arches  on  cou])led 
Doric  columns  with  entablature  and  jiedi- 
ment,  forming  the  entrance  to  the  court. 
The  side  divisions  consist  of  open  corri- 
dors with  thin  columns  and  pilasters  on 
pedestals,  with  occasional  arches — all  sur- 
mounted by  a  high  attic.  The  court  is 
designed  with  a  single  order  of  engaged 
Doric  coluunis  with  decorated  frieze,  the 
intervals  alternately  broad  and  narrow, 
filled  with  rustic  walling  and  with  alter- 
nate windows  and  niches.  The  rooms 
in  the  palace  are  decorated  by  Giulio  with 
great  richness,  but  with  characteristic 
heaviness  and  capriciousness  of  detail. 

S.  Andrea  (St.  Andrew),  the  largest 
and  most  important  church  in  Mantua. 
It  is  the  master-work  of  Alberti,  and  fore- 
runner of  the  great  church  designs  of 
Bramante  and  Michael  Angelo  ;  a  cruci- 
form early  Renaissance  building  340  ft. 
long  and  about  100  ft.  wide,  witli  a  fa9ade 
of  white  marble  in  the  form  of  a  Roman 
triumphal  arch  composed  of  an  order  of 
four  composite  flat  pilasters,  on  enormously 
high  j)edestals.  an(l  an  attenuated  entabla- 
ture, all  under  a  low  pediment.  The  middle 
intercolumuiation  is   expanded   to  receive 


the  immense  deep  open  arch  occujDying 
the  whole  height  of  the  pilasters  ;  the  side 
intervals  being  narrow  and  occupied  each 
by  a  doorway  aiul  two  large  i)lain  round- 
headed  wiiulows  one  above  another.  The 
interior  presents  a  nave  55  ft.  broad,  in 
three  bays,  with  an  imposing  order  of  rich 
Corinthian  pilasters,  coupled  and  decorat- 
ed with  painted  arabesques,  between  which 
open  a  row  of  singularly  arranged  chapels, 
alternately  large  and  small,  corresponding 
to  the  larger  and  smaller  intervals  of  the 
pilasters.  The  transept  is  as  broad  as  the 
nave  and  has  large  chaijels  on  the  east  and 
west  sides.  The  choir  is  in  a  single  square 
bay,  with  a  round  apse.  Xave,  transept, 
and  choir  are  covered  with  a  round  barrel- 
vault,  98  ft.  high,  deeply  panelled  and 
richly  jjainted,  and  a  hemispherical  dome 
rises  from  the  crossing.  The  church  was 
built  by  Leon  Battista  Alberti  in  1472, 
liut  the  dome  was  not  added  till  1782. 
The  building  shows  the  marked  character- 
istics of  Alberti's  design,  the  lean  orders 
and  rigid  detail ;  but  the  disposition  of  the 
rinterior  architecture,  the  single  great  Co- 
inthiau  order,  the  vaulted  nave,  the  great 
piers  and  pendentives  prepared  for  the  dome 
which  was  intended  l)y  Alberti.  though  act- 
ually designed  and  built  by  Juvara,  were 
long  steps  in  the  development  of  the  Renais- 
sance, and  clearly  models  for  the  designers 
of  St.  Peter's  at  Rome.  Attached  to  the 
church  at  the  northern  angle  is  a  (Jothic 
bell-tower,  remnant  of  an  earlier  church. 
It  is  a  square  brick  tower  in  four  stages, 
with  flat  corner-pilasters  and  three  stories 
of  pointed  windows,  the  upper  story  having 
in  each  face  a  large  three-light  traceried 
window  with  mullion-shafts  of  polished 
marble  coupled  in  the  thickness  of  the 
wall,  under  a  high  pointed  enclosing  arch. 
Above  a  deep  and  rich  cornice  rises  an 
octagonal  l)elfry  with  angle-columns  and 
round  arches  enclosing  pointed  windows. 
A  round  brick  sjiire  covered  with  tiles  ter- 
minates tiie  whole.  {Sec  Fif/s.  lOo,  lUG.) 
:\[AUAT1LUS     See  Amrilh'. 


MAR 


MAR  HANXA,  uear  Gaza,  Palestine. 

RocK-CfTTiNGS,  at  the  base  of  the 
acropolis  hill,  consisting  of  a  labyrinth  of 
chambers  with  arched  or  bell-shaped  ceil- 
ings, galleries,  and  stairways,  recalling  tiie 
catacombs  of  Rome,  and  admirably  cut 
in  the  soft  gray  chalk.  The  chambers  are 
from  20  ft.  to  55  ft.  in  diameter,  and  •'50 


MATERA,  Italy. 

The  Cathedral  is  a  Romanesque 
building  of  the  xi  cent.,  rebuilt  at  the 
end  of  the  xii,  and  restored  in  later  years, 
showing  in  its  picturescpie  details  both 
Norman  and  Saracenic  intluence.  It  is 
cruciform,  witli  nave  and  single  aisles  and 
transept  not  projecting.    Over  the  crossing 


^^|,f^'-^#1 


Fig.  107.— Matera,  ' 


ft.  to  40  ft.  high,  lighted  by  shafts  open- 
ing at  the  apex  of  tlie  ceiling,  whicii  is 
often  supported  by  detached  pillars.  At 
the  foot  of  the  hill,  in  front  of  the  rock- 
chambers,  are  extensive  foundations  in 
hewn  stone.  Many  of  the  hills  in  the 
neighborhood  are  honeycombed  with  sim- 
ilar cuttings,  and  there  are  also  large  ne- 
cropolises of  rock-cut  tombs,  and  cisterns 
of  excellent  workmanship.  Originally 
due,  no  doubt,  to  tJie  primitive  inhabi- 
tants, these  rock-cuttings  have  continued  in 
use ;  some  are  shown  by  inscriptions  to  have 
served  as  churches  or  mosques,  and  many 
are  still  used  as  stables  for  goats  or  cattle. 


is  a  low,  square  tower,  and  the  choir  is 
flanked  on  the  nortli  by  a  square  campa- 
nile with  twin  windows  under  round  arches 
in  the  upper  stories.  The  church,  175  ft. 
long,  in  eight  bays,  of  which  all  but  the 
two  easternmost  retain  their  original 
round-arched  form,  is  divided  by  twelve 
classic  columns,  believed  to  have  been 
brought  from  Metapontum.  Tlie  west 
front,  of  unusual  design,  has  a  walled  ter- 
race before  it  with  semicircular  central 
steps.  The  single  round-arched  door  in 
the  middle  has  a  sculptured  tympanum, 
and  is  flanked  by  niches.  Over  the  nave 
is  a  raised  gable  decorated  with  a  corbelled 


80T 


MAXIMIAXOPOLIS 


ami  sliufted  arcade  that  follows  its  slojjc. 
Below  this  is  a  rich  rose  window,  between 
two  quasi  buttresses,  which  consist  of 
two  stories  of  boldly  corbelled  columns. 
A  flat  blind  arcade,  resting  on  alternate 
corbels  and  pilasters,  follows  the  slope  of 
the  aisle-cornices,  and  is  continued  round 
the  south  side  of  the  chnrcli.  This  side 
has  two  doorways,  and,  high  np  in  the 
aisle,  a  window,  richly  decorated  with  cor- 
bels and  sliafting,  from  ^yhich  the  edicts 
of  the  iiatriarch  of  Constantinople  were 
formerly  promulgated.  Tlie  clerestory 
had  a  single  round-urched  window  in  each 
bay,  now  disfigured  by  modern  square- 
headed  openintrs.  (See  Fig.  107.) 
MAXLMIAXdl'OLIS.  See  Kamumt. 
MEGALOPOLIS,  Arcadia,  Greece. 

The  Agok-V  was  enclosed  with  porticoes 
in  the  Ionian  fashion,  and  must,  with  the 
monnments  connected  with  it,  have  formed 
a  very  beautiful  feature.  The  stoa  on 
the  north  side,  that  of  Philip,  lias  been  in 
part  excavated  by  the  British  School.  Ad- 
joining it  on  the  north  was  that  of  the  Ar- 
chives, containing  some  of  the  government 
offices,  and  the  temples  of  Hermes  and  of 
Tyche.  On  the  south  stood  the  stoa  of 
Aristander,  flanked  by  the  temples  of  De- 
meter  and  Persephone  and  of  Zeus  Soter. 
Close  to  this  was  the  Bouleuterion  or  Sen- 
ate-house. Another  portico,  called  M\Top- 
olis  (of  the  i^erf  ume-sellers),  was  built  about 
300  B.C.  from  spoils  won  Ijy  Aristodemns 
from  the  Spartans.  The  middle  of  the 
agora  was  occupied  by  the  Sanctuary  of 
Zeus  (Jupiter)  of  Mt.  Sykaion,  on  the 
ground  of  whioh  the  public  was  not  al- 
lowed to  set  foot,  though  the  low  enclos- 
ing-wall permitted  an  unimpeded  view  of 
the  various  altars,  statues,  and  other  dis- 
jjositions  within.  Excavations  have  been 
in  progress  at  Megalopolis  under  the  con- 
duct of  the  British  School  at  Athens. 

TnEATRE,  on  the  south  bank  of  tlie 
Ilelisson.  The  cavea  is  in  part  excavated 
from  the  slope  of  a  low  hill,  and  in  jjart 
built  up.     The  extremities  of  the  wings 


are  supported  by  massive  walls.  The  di- 
ameter is  about  475  ft.,  and  Pausanias 
calls  it  the  largest  theatre  known  to  him. 
It  is  estimated  that  it  could  seat  about 
forty  thousand  persons.  The  lowest  rows 
of  ordinary  seats  of  the  cavea,  and  at  the 
bottom  a  row  of  thrones  or  benches  with 
backs  and  arms  at  the  ends,  as  at  Epi- 
daitrus,  remain  perfect.  There  were  ten 
klimakes  or  radial  stairways.  Tlie  usual 
drain  skirts  the  orchestra,  below  the  seats. 
The  orchestra  is  in  plan  a  little  over  a 
semicircle,  and  had  a  floor  of  beaten  earth. 
The  most  important  portion  of  the  re- 
mains is  the  stage-structure,  the  walls  of 
which  are  in  unusually  good  preservation. 
First  toward  the  orchestra  is  the  Roman 
stage,  with  a  proscenium  ornamented  with 
columns.  Next  behind  this  there  is  a 
proscenium  -  wall  of  excellent  masonry 
which  has  along  its  whole  length  a  range 
of  steps  leading  down  to  the  level  of  the 
orchestra.  The  original  height  of  this  pro- 
scenium is  given  as  5  ft.  10  in ;  the  lireadth 
of  the  stage  as  18  ft.  2  in.  Behind  the 
stage  rose  a  back-wall,  with  a  large  cen- 
tral door  flanked  by  two  smaller  ones. 
Behind  this  wall  was  a  very  large  rectan- 
gular hall,  the  roof  of  which  ajipears  to 
have  been  supi^orted  by  five  ranges  of 
seven  columns,  though  its  plan  is  not  yet 
fully  known,  and  has  evidently  been  modi- 
fied in  Roman  times. 
ilELASSA  (anc.  Mylassa),  Asia  Minor. 

Arch  or  gateway  east  of  the  city.  It 
is  28  ft.  wide  and  30  ft.  high,  faced  by  an 
order  of  Corinthian  pilasters,  and  pierced 
by  a  single  arch  24  ft.  high  anil  13 1  ft. 
wide,  whose  imposts  are  supported  by 
smaller  Corinthian  pilasters.  Apparently, 
it  carried  an  attic.  The  details  of  the 
order  are  like  those  of  the  mausoleum. 

Mausoleum,  on  a  hill  south  of  the  city. 
Texier  believed  it  to  belong  to  the  ii  cent., 
and  to  be  a  simplified  copy  of  the  tomb  of 
Mausolus.  It  is  of  two  stories,  in  plan  18| 
ft.  square,  in  height  about  20  ft.,  the 
lower  story  is  a  basement  11|  ft.  high  on 


MESSA 


a  styl(iU;ttc'  of  two  steps,  iu  wliich  is  the 
sepulcliral  chamber,  with  a  ceiling  of 
stone  beams  supported  on  four  jiilhirs. 
T)\e  second  story  is  an  edicnle,  with  a  per- 
istyle consisting  on  each  side  of  two  Corin- 
thian columns  with  elliptical  shafts,  l)e- 
tween  square  Corinthian  angle-joiers.  The 
peristyle  supports  an  entablature,  above 
which  is  a  sort  of  stepped  jn'ramid.  The 
sides  of  the  peristyle  were  once  closed  by 
marble  panels  ;  the  interior  was  painted 
blue.  The  interior  of  the  roof  is  remark- 
able for  its  beautiful  ornamenttd  work. 
Columns  and  piers  are  tinted,  and  the 
capitals  ai'e  of  the  bell-form  of  those  of 
the  Tower  of  the  Winds  and  the  Dionysiac 
Theatre  precinct  at  Athens. 

Votive  CoLUM>f  OF  Mexaxdkos,  Co- 
rinthian, with  a  rich  acanthus-capital  of 
importance  in  the  study  of  the  order.  It 
has  a  table  for  the  inscription  interrupting 
the  fluting,  and  bore  a  statue.  Two  Ionic 
votive  columns  remain  of  importance  in 
the  series  of  monuments  for  the  study  of 
the  Ionic  order. 

At  Kodja  Yaileh,  near  Melassa,  is  an 
Ionic  temple  -iu  anh's  upon  a  raised 
basement  or  iiodium  ;  the  total  depth  is 
'iOg  ft.,  the  interior  dimensions  of  thecella 
to  the  extremity  of  the  wide  rectangular 
niche  for  the  cult-statue  in  the  back  wall, 
34  ft.  by  id  ft.  Between  the  iintx  of  the 
pronaos  were  two  columns.  There  is  a 
window  on  each  side  of  the  wide  doorway 
between  pronaos  and  cella,  and  four  win- 
dows in  each  side  wall — three  in  the  cella 
and  one  in  the  pronaos.  The  windows 
taper  toward  the  top  and  are  closed  in  by 
lintels.  The  masonry  is  good  isodomic, 
with  convex  faces  iu  the  basement.  This 
temjile  was  taken  by  Le  Bas  to  be  that  of 
Labranda  (y.  v.).  See  also  Tahkli. 
MESSA  (Taxiarches),  Lesbos,  Aegean  Sea. 

Greek  loxic  Temple  of  the  first  half 
of  the  IV  cent.  B.C.,  in  jjlan  peripteral 
(pseudo-dipteral),  with  eight  columns  on 
the  fronts  and  fourteen  on  the  flanks,  on 
a  stylobate  of  three  steps.     It  had  deep 


[)ronaos  and  opisthodomos,  cac'h  with  two 
columns  in  anfis.  The  shafts  of  these 
columns  had  twenty-four  Doric  channels, 
with  Ionic  bases  and  capitals.  The  di- 
mensions, measured  on  the  lowest  step, 
were  78  ft.  by  130  ft.  The  columns  had 
twenty-four  flutes,  and  a  diameter  above 
tlie  base  of  3^  ft.  The  bases  were  of 
Asiatic  type,  but  remarkably  pure  in  de- 
sign, without  plinths,  and  the  beautiful 
capitals  approached  the  type  of  those 
of  the  Athenian  Propylaja.  The  stereo- 
bate  and  all  the  architectural  elements 
survive.  The  material  is  trachyte,  the  exe- 
cution and  design  excellent. 
MESSENE,  Greece. 

Arcadian"  Gate,  on  the  north  side,  to- 
ward Megalopolis.  Leake  calls  it  one  of 
the  finest  specimens  of  Cireek  military  ar- 
chitecture in  existence.  It  is  double,  with 
an  intermediate  circular  court  04  ft.  0  in. 
iu  diameter,  iu  the  wall  of  which,  on  each 
side  of  the  outer  gate,  is  a  niche  for  a 
statue.  This  outer  gate,  17  ft.  4  iu.  by  10 
ft.  4  in.  high,  originally  vaulted,  is  flanked 
by  two  towers,  each  about  21  ft.  3  iu. 
square.  The  inner  gate  had  a  central 
pier  of  a  single  stone,  now  broken  in  two. 
The  masonry,  especially  that  of  the  circu- 
lar court,  is  very  regular  and  beautiful. 
The  walls,  of  which  this  gate  forms  a  jiart, 
had  at  least  thirty  towers  of  two  stories 
each,  most  of  them  square,  but  some  semi- 
circular, placed  at  intervals.  Of  these, 
seven  are  still  iu  fair  jireservation. 
MESSINA,  Sicily. 

The  Cathedral  is  a  great  three-aisled 
basilica  nearly  300  ft.  long  and  140  ft. 
across  the  transejit,  with  three  eastern 
apses.  The  long  nave  is  of  fourteen  bays, 
with  broad  pointed  arches,  somewhat  horse- 
shoed in  shape,  resting  on  columns  with 
low  stilt -blocks  and  capitals,  some  I\o- 
manesqiie  and  some  Gothic.  The  shafts 
are  believed  to  come  from  a  neighboring 
temj)le  of  Neptune.  The  nave  is  covered 
with  a  handsome  wooden  ceiling,  a  repeti- 
tion of  the  original  one,  the  crossing  with 


209 


METAI'DXTl'M 


a  modern  dome.  Thu  tliri'i'  apses,  appar- 
ently older  than  the  nave  and  the  clere- 
story, have  round-arched  windows,  tliose 
of  the  transept,  which  is  higher  and 
broader  than  the  nav-e,  are  pointed  :  the 
apses  are  lined  with  mosaics  of  the  xiii 
century.  The  two  first  bays  of  the  nave 
are  cut  off  by  cross  arches  to  form  an  en- 
trance porch.  Under  the  east  end  is  a 
long  crypt  of  three  aisles,  with  pointed 
vaults  on  low  columns  and  Norman  capi- 
tals. The  aisles  are  lined  with  chapels, 
and  both  within  and  without  the  church 
is  considerably  deformed  by  later  addi- 
tions. Of  the  exterior  the  most  interest- 
ing part  is  the  front,  which  is  banded  in 
white  and  red  marble.  The  three  door- 
ways, inserted  in  the  xiv  cent.,  are  of  un- 
common richness,  especially  the  middle 
one,  which  is  covered  with  a  profusion  of 
mouldings,  shafting,  arabesques,  and  fig- 
ures, human  and  animal,  and  surmount- 
ed by  a  high  crocketed  canopy.  Accord- 
ing to  tradition  an  early  church  was 
built  in  this  place  in  the  time  of  Belisa- 
rius  ;  but  the  present  one  was  built  under 
Count  Roger  at  the  end  of  the  xi  cent., 
remodelled  near  1125  and  consecrated  as 
cathedral,  according  to  an  inscription, 
in  1197.  In  12.54  the  ceiling  took  fire  from 
the  torches  on  the  funeral  catafalque  of 
Conrad,  the  son  of  the  emjieror  Frederic 
II..  and  the  interior  was  much  damaged, 
after  which  the  present  ceiling  was  added. 
In  I'-VM  the  mosaic  decoration  of  the  apses 
was  added,  and  the  doorways  of  the  fa- 
cade. The  old  bell-tower,  destroyed  by 
an  earthquake  in  1783,  was  replaced  by 
another  which  was  taken  down  in  1865, 
two  towers  adjoining  the  apses  being  sub- 
stituted. 
METAPONTUM  (Torremare),  Italy. 

DoKic  Temple  of  Apollo  Lyceus.  on 
the  site  of  the  farm  called  the  Masseria  di 
Sansone  or  Chiesa  di  Sansone,  the  build- 
ings of  which  are  in  great  part  built  of 
its  stones,  including  drums  of  columns, 
architrave-blocks,  and  capitals  of  the  peri- 


style ami  (if  two  orders  of  the  interior  of 
the  temple.  The  first  excavations  were 
made  here  by  the  Due  de  Luynes  in  1828, 
and  a  beautiful  polychrome  terra-cotta 
cornice  was  found,  with  waterspouts  in 
the  form  of  lion  -  heads.  This  is  now 
in  the  Cabinet  des  Medailles  at  Paris. 
More  complete  excavations  have  laid  bare 
the  stereobate  of  the  temple,  which  still 
exhibits  the  marks  of  the  column  bases 
and  of  the  cella-walls.  The  material  is 
a  coarse  limestone,  which  was,  as  usual, 
coated  with  fine  stucco.  These  excava- 
tions have  also  furnished  many  more 
pieces  of  the  polychrome  terra-eotta,  to- 
gether with  antefixes,  tiles,  fragments  of 
sculptured  metopes,  etc.  ;  in  a  word,  all 
that  is  needed  for  a  complete  restoration. 
The  date  of  the  temple  is  the  beginning 
of  the  VI  cent.  B.C..  or  even  earlier, 
though  much  of  its  ornament  in  terra- 
cotta, which  has  been  found,  is  of  com- 
paratively late  date.  It  was  hexastyle, 
peripteral,  with  twelve  columns  on  the 
flanks.  The  columns  have  twenty  chan- 
nels ;  the  capitals  are  wide-spreading,  and 
present  a  deep  undercutting  at  the  junc- 
tion of  echinus  and  neck.  The  chief  di- 
mensions are  :  stereobate,  70^  ft.  by  1.36 
ft. :  stylobate,  highest  step,  65^  ft.  by  138 
ft.  ;  columns,  height  18  ft.  4  in.,  base 
diameter  4  ft.  05  in.,  neck  diameter,  3  ft. 
5  in. 

DoRir  Temple,  known  as  the  Tavola 
dei  Paladini,  about  three  miles  from  that 
of  the  Masseria  di  Sansone.  Within  the 
last  century  everything  portable  has  been 
removed  from  this  temple,  down  to  its 
pavenu^nt  and  the  steps  of  the  stylobate. 
and  including  every  vestige  of  the  cella. 
Fifteen  columns  of  the  peristyle  remain 
standing  ;  ten  on  the  north  side  aiul  five 
on  the  south,  with  portions  of  their  archi- 
traves, which  were  formed  like  that  of  the 
so-called  Temple  of  Ceres  at  Pa^stum, 
of  two  courses.  The  columns  are  a  lit- 
tle smaller  than  those  of  the  Temple 
of   Ceres,    but   resemble   them  closelv  in 


MILAN 


type,  (limiiiishing  much  toward  the  toji, 
and  having  a  spreading  echinus  witli  deep 
undercutting.  Their  height  is  five  diam- 
eters, and  the  intercolumniation  wide. 
The  material  was  the  rough  native  lime- 
stone, coated  witli  fine  stucco,  tinted  yel- 
low on  the  columns.  Some  remains  have 
been  found  of  cornice  decoration  in  terra- 
cotta. The  temple  was  hexastyle,  with 
twelve  columns  on  the  flanks.  It  dates 
from  the  first  half  of  the  vi  cent,  li.c,  or 
earlier.  From  the  subjects  of  some  votive 
mosaics  belonging  to  it,  it  may  have  been 
doilieateil  to  Demeter  ;  most  scholars,  how- 
ever, ascribe  it  to  Pallas.  The  interior  of 
the  cella  was  20^  ft.  wide,  and  consisted 
of  two  chambers,  that  in  front  37  ft.  long, 
and  that  behind  I'^f  ft. 
MILAN  (Milano,  Mailaiul),  Italy. 

Arch  of  Peace,  or  Arch  of  the  Sim- 
plon.  l)egun  in  1807,  during  the  French 
occupation  of  Milan,  as  a  triumphal  arch  to 
celebrate  the  victories  of  NaiJoleon  and  as  a 
monumental  entrance  to  the  great  route  of 
the  Simplon,  then  just  completed.  The 
ari;'h  was  a  reproduction  of  a  temporary  one 
built  of  wood  in  the  previous  year  to  cele- 
brate the  marriage  of  Eugene  Beauhar- 
nais  with  the  Princess  Amelia  of  Bavaria. 
It  was  finished  thirty  years  later  by  the 
Austrians  with  inscriptions  and  bas-reliefs 
commemorating  the  downfall  of  Xajioleon. 
The  arch  is  entirely  of  white  marble,  in 
three  divisions,  with  an  enriched  order  of 
detached  Corinthian  columns  on  pedes- 
tals enclosing  a  great  arch  in  tiie  centre 
and  small  ones  on  either  side,  with  a 
high  attic  bearing  an  inscription  in 
the  centre,  and  reclining  figures  at  the 
sides.  It  is  crowned  by  the  statue  of 
Peace  in  a  chariot  with  six  horses, 
flanked  by  single  equestrian  figures,  and 
is  about  75  ft.  wide  by  i'i  ft.  deep  and 
80  ft.  high. 

The  Archbishop's  Semixaiiy  was 
founded  by  St.  Cliarles  Borromeo  about 
L570.  and  was  liuilt  from  the  designs  of 
the  Milanese  architect  and  painter,  Giu- 


seppe Meda.  Its  jilun  is  a  square  of  about 
250  ft.,  formed  by  four  ranges  of  building 
enclosing  a  noble  court  about  150  ft. 
square,  surrounded  by  two  stories  of 
broad  open  galleries,  each  with  an  order 
of  coujiled  columns  of  red  granite — Doric 
and  Ionic  respectively — the  lower  of  which 
is  divided  by  transverse  arches  into  square 
groined  bays.  In  striking  contrast  to  the 
temperance  and  dignity  of  the  general  de- 
sign is  the  great  entrance  gateway,  possi- 
bly of  later  date. 

The  Brera  is  the  familiar  name  for  the 
Palace  of  Arts  and  Sciences,  wliich  is  the 
seat  of  the  great  collections  and  art- 
schools  of  Milan.  The  original  buildings 
were  erected  in  the  xir  cent,  for  the  use 
of  the  religious  order  of  the  Umiliati, 
from  whose  hands  they  jKussed  in  1571 
into  those  of  the  Jesuits,  by  whom  the 
present  palace  was  built  in  1051-67  from 
tlie  designs  of  Riccliini,  the  fa9ade  l)y 
Piermarini.  On  the  suppression  of  the 
Jesuits  in  1773  the  establishment  became 
the  jjroperty  of  the  state,  and  in  1803  it 
vas  devoted  to  its  present  uses.  The 
buildings  are  of  vast  extent,  covering  an 
irregular  square  of  about  370  ft.  The 
principal  fa9ade,  about  240  ft.  long,  is 
without  character,  consisting  of  two  sto- 
ries of  square  windows,  and  quoined  an- 
gles, with  a  mezzanine  between,  the  upper 
windows  with  pedimented  caps,  and  the 
central  arched  entrance  in  an  engaged 
Doric  portico,  the  whole  ending  in  a  pro- 
jecting cornice  on  consoles.  The  court, 
the  best  \ydrt  of  the  building,  measures 
about  90  ft.  by  120  ft.,  and  is  surrounded 
by  two  stories  of  open  arches  on  coui)led 
columns  carrying  blocks  of  entablature, 
Tuscan  below  and  Ionic  above.  The  pal- 
ace has  a  grand  double  staircase,  and  many 
halls  of  no  sjiecial  architectural  interest. 
It  enclosed  a  small  church,  the  sole  rem- 
nant of  the  earlier  buildings,  which  had  a 
Gothic  fa9ade  with  a  deejjly  splayed  round- 
arched  doorway,  two  stories  of  two-light 
cusjied    windows,     some    pointed-arched. 


an 


MILAN' 


otliers  rouiul,  and  a  single  high  guble  cov- 
ering the  front. 

The  Oatuedual  is,  witli  the  jiossible 
exception  of  the  catliedral  of  SeviUe,  the 
hvrgest  mediseval  church  in  Europe.  It  is 
also  one  of  the  richest  in  point  of  material 
and  decoration.  It  is  cruciform,  perfectly 
regular  in  jilan,  with  a  nave  of  great 
breadth  and  double  aisles,  a  transept  of 
.  equal  breadth  with  the  nave,  with  single 
aisles,  and  a  choir  eiuling  in  au  octagon 
with  a  single  aisle  continued  around  its 
east  end  (au  arrangement  very  rare  in 
Italian  cliurches),  aud  flanked  by  two 
rectangular  sacristies  which  fill  out  the 
east  end  of  the  church  to  the  breadth  of 
the  west  end.  The  nave  and  its  aisles  are 
of  nine  bays,  square  in  the  aisles,  oblong 
in  the  nave.  The  outer  and  inner  aisles 
are  of  equal  width,  and  are  separated  from 
each  other  and  from  the  nave,  transept, 
and  choir  by  massive  piers,  nearly  or  quite 
8  ft.  in  diameter,  of  which  the  plan  is 
an  octagonal  star,  and  the  bases  somewhat 
clumsily  moulded.  The  capitals,  which 
are  among  the  most  remarkable  features  of 
the  church,  consist  of  a  true  capital,  which 
is  a  low  wreath  of  conventional  foliage, 
with  a  heavy  abacus,  on  which  stands  a 
circling  range  of  eight  tall  canopied  niches, 
each  enclosing  a  statue,  over  which  rise 
high  crocketed  gables,  the  whole  height 
of  the  compound  capital  being  not  far 
from  20  ft.  The  piers  are  joined  by  high, 
narrow,  pointed  arches  with  weak  mould- 
ings, above  which  rises  a  low  clerestory 
with  a  single  pointed  window  in  each 
bay.  The  clerestory  is  repeated  over  the 
inner  aisles.  The  walls  of  the  outer  aisles 
are  of  unusual  height  aud  lighted  by  a 
tall  three-light  pointed  window  in  each 
bay,  with  traceried  head,  and  filled  with 
stained  glass.  High-pitched  four-part 
vaults  cover  the  whole  church  and  are 
stayed  by  iron  rods,  the  only  excejition 
being  the  square  bay  at  the  crossing,  which 
is  covered  by  a  slightly  elongated  octago- 
nal dome,  whose  interior  height  above  the 


floor  is  about  200  ft.  The  transept  has 
square  ends,  except  that  from  its  central 
aisle,  both  on  the  north  and  the  south, 
projects  an  octagonal  chapel,  vaulted  at  the 
height  of  the  nave  arches,  above  which  the 
square  wall  of  the  transept  is  pierced  by  a 
great  pointed  wiiulow  divided  into  nine 
lights,  with  traceried  head,  and  filled  with 
flue  glass.  The  three  sides  of  the  octago- 
nal termination  are  filled  each  with  an  im- 
mense window  28  ft.  broad  and  nearly  GO 
ft.  high,  with  traceried  head,  and  glazed 
with  extremely  rich  modern  glass.  The 
floor  of  the  choir  rises  by  successive  ascents 
to  the  high  altar  near  its  eastern  end, 
which  staiuls  under  a  circular  baldacchino 
with  Corinthian  columns  and  entablature 
crowned  by  a  dome,  the  whole  decorated 
with  extreme  richness.  The  choir  is  en- 
closed liy  a  high  Renaissance  screen  wall, 
decorated  with  pilasters  and  caryatides  aiul 
divided  into  panels  charged  with  bas-re- 
liefs. The  inside  is  lined  with  elaborately 
carved  stalls  of  walnut,  below  which  the 
screen  is  jjierced  by  square  windows  open- 
ing into  the  crypt  underneath.  Beneath 
the  choir  is  a  vaulted  crypt  of  Eenaissance 
design,  opening  on  the  east  into  a  circu- 
lar chapel  -iO  ft.  in  diameter,  lighted  by 
openings  from  the  choir  aisle,  and  deco- 
rated with  great  richness,  the  vaulted 
ceiling  supported  by  Tu.scan  columns.  On 
the  west  of  the  cryi)t  is  the  equally  rich 
chapel  of  .S.  Carlo  Borromeo,  with  his 
tomb  in  the  centre,  above  which  is  an 
opening  in  the  floor  of  the  nave  which 
j)ermits  the  interior  of  the  chajiel  to  be 
seen.  On  the  two  easternmost  j^iers  of 
the  four  whieli  sup[)ort  the  central  dome 
are  two  circular  puljiits  of  bronze,  suj)- 
jiorted  by  termiiud  figures,  covered  with 
canopies  encircling  the  piers,  and  enriched 
with  bas-reliefs.  The  pavement  is  rich 
and  beautiful,  composed  of  colored  marbles 
in  elaborate  geometrical  patterns.  The 
surfaces  of  the  vaulting  are  painted  in 
imitation  of  tracery.  No  church  plan  in 
Italv  has  so  much   the  character  of  the 


:\r]LAX 


northern  Gotliie  as  this,  ^'ct  the  breadth 
and  freedom  of  its  treatment  and  tlic  sjik'n- 
ilor  of  its  materials  and  decoration  are 
wholly  Italian.  So  also  is  itsseotion,  whitdi, 
with  its  low  clerestories  and  the  slight 
diminution  in  the  heights  of  nave  and 
aisles,  offers  a  typical  contrast  to  that  of  a 
northern  cathedral.  The  effort  to  avoid 
the  crowding  piers  and  complicated  plan 
of  a  northern  Gothic  east  end  has  ex- 
panded the  parts  about  the  choir  to  a  de- 
gree that  not  only  makes  this  end  look 
bald  and  i^rimitive  in  design,  in  spite  of 
the  rich  windows,  but  puts  it  out  of  scale, 
both  without  and  within,  with  the  rest  of 
the  church.  The  dimensions  are  very  im- 
posing. The  nave  is  60  ft.  wide  between 
the  centres  of  its  piers,  the  ai.sles  nearly 
30  ft.  ;  the  total  interior  breadth  is  thus 
about  180  ft.,  while  the  total  length  is 
about  -450  ft. ;  and  the  length  of  the  tran- 
sejit  :240  ft.  The  crown  of  the  nave  vault 
is  1-1:5  ft.  above  the  ijavement.  whicji  is 
almost  exactly  the  height  of  the  nave  of 
Cologne  and  the  choir  of  Beauvais.  The 
inner  aisles  have  a  height  of  about  90  ft., 
the  outer  about  70  ft.  The  interior  has 
thus  a  combined  height  and  amplitude 
which  make  it  one  of  the  most  impressive 
in  the  world.  The  resemblance  to  a 
northern  cathedral,  wliich  the  interior 
shows,  is  not  to  be  traced  on  the  exterior. 
The  clerestories  are  so  low  as  to  be  scarcely 
visible  above  the  high  roofs  of  the  aisles, 
and  the  continuous  slope  of  the  flying  but- 
tresses over  both  aisles,  with  the  similar 
slope  of  the  screen-like  facade  of  the  west 
front,  gives  a  sijrawling  effect  to  the  mass, 
as  far  removed  asj)ossible  from  the  outline 
of  a  northern  Gothic  church.  The  high 
side  walls  are  divided  by  shallow  straight 
buttresses  terminating  in  jiinnacles  of 
enormous  height.  The.se  pinnacles  are 
repeated  on  each  clerestory,  and  continu- 
ous flying  buttresses  connect  them  with 
an  arch  over  each  aisle.  The  central  lan- 
tern or  dome  over  the  crossing,  an  octagon 
about  55  ft.  long  and  45  ft.   broad,  rises 


vertically  s(nnc  50  ft.  frimi  the  roof  of  the 
nave,  surrounded  l)y  eight  l)uttresses  ter- 
minating in  pinnacles,  from  which  flying 
buttresses  with  concave  ramps  spring  to 
the  base  of  a  slender ^^tV7/c  that  forms  the 
termination  of  the  lantei'u,  rising  to  the 
height  (it  about  340  ft.  above  the  pave- 
ment, and  crowned  by  the  statue  of  the 
Madonna.  Double  and  single  buttresses 
divide  the  fa9ade,  which  is  more  modern, 
into  five  vertical  compai-tmonts  corre- 
sponding to  the  nave  and  aisles.  From 
these  compartments  panelled  gables  and 
half-gables  are  cut  off  by  horizontal  cor- 
nices and  balconies  between  the  luittresses 
at  the  height  of  the  corresponding  roofs, 
but  all  finish  in  a  jiarapet  wliich  makes  a 
continuous  slope  as  of  a  single  gable  from 
the  apex  to  the  angles  of  the  front.  In 
the  upper  part  are  three  broad  pointed 
windows  ;  below  are  Kenaissance  windows 
and  doors  in  two  sttuMcs,  all  enclosed  be- 
tween pilasters  and  pediments.  Through- 
out the  whole  work  the  decoration  is 
carried  to  an  extratn-diiuiry  extent.  The 
walls  are  everywhere  of  white  marble,  and 
excej)t  on  the  west  front,  walls  as  well  as 
buttresses  are  divided  into  vertical  panels 
with  traceried  heads  by  wiry  ribs  which 
merge  in  a  lace-like  parajiet,  following  the 
caves  over  each  clerestory.  The  buttresses 
have  cusjied,  gabled,  and  pinnacled  niches 
at  mid-height,  the  jiiinuiclcs  are  as  lofty 
as  spires  and  of  unparalleled  richness  of  or- 
nament, capped  with  statues,  and  enclos- 
ing often  in  their  niches  a  dozen  or  more 
of  smaller  figures.  The  upper  line  of  the 
flying  buttresses  is  marked  by  a  pierced 
parapet  of  quatrefoils,  above  which  is  a 
fringe  of  inverted  cusped  arches  with  a 
close  row  of  sculptured  finials.  The  num- 
ber of  statues  on  the  exterior  has  been 
variously  reckoned  at  from  two  to  four 
thousand.  With  all  its  richness  of  mate- 
rial and  all  its  profusion  of  ornament,  the 
exterior  of  this  great  church  fails  to  pro- 
duce the  effect  of  greatness  which  is  felt 
in  many  churches  of  far  less  importance. 


MILAN 

Its  richness  is  frittered,  its  majestic  pro-  the  profusion  of  pinnacles,  gablets,  and 
portions  are  concealed,  and  it  fails  to  real-  flying  buttresses.  The  earliest  church  on 
ize  the  characteristic  excellencies  either  of     this  site  goes  back  to  390  ;  it  was  rebuilt 


Fig.  108. — Milan,  Cathedral,  and  Tower  of  S.   Gottardo. 


the  northern  or  the  southern  ly])i'  nf  ihe 
Gothic  cathedral.  Italian  resistance  to 
northern  ideas  is  shown  throughout  the 
church  in  the  etfort  to  avoid  sharply 
pointed  arches  and  dominating  vertical 
lines,  to  preserve  vvall-surfat'C  and  to  en- 
force horizontal  lines  ;  the  northern  influ- 
ence in  the  net-work  of  upright  i)anelling, 
the  struggle  of  the  vertical  principle  for 
recognition,  the  character  nf  the  tracery. 


in  SliCi.  and  again  destroyi'd  mid  rebuilt, 
until,  in  138.").  the  foundation  of  tlie  present 
church  was  begun,  under  (lian  Galeazzo 
Visconti,  Duke  of  Milan.  Much  contro- 
versy has  been  maintained  as  to  its  archi- 
tect. The  northern  influence  was  too  evi- 
dent to  be  denied,  and.  in  view  of  this,  out 
of  the  crowd  of  men  recorded  as  in  charge 
of  the  work,  the  ]ilan  at  least  has  been 
conimoidv     assigned     to     Ileinrich     von 


MILAN 


Gmiinclen.  One  Simoiie  d'Orseiiigo  was, 
however,  uamed  as  director  laborum,  also 
a  Frenchman  named  Nichohis  de  Boniie- 
aventure,  and  Marco  da  Campione,  wlio 
died  in  1390,  and  all  of  these  a2)pear  to 
have  had  an  earlier  connection  with  the 
work  tiian  the  German  architect.  As 
early  as  13U7  the  nave  was  partly  roofed, 
and  in  1418  the  choir  was  consecrated  by 
Martin  V.  As  the  work  went  on,  fears 
were  entertained  that  the  cen- 
tral piers  were  too  weak  to  sup- 
port the  dome.  Brunelleschi 
was  consulted  in  11:30,  but  the 
work  ou  the  dome  was  not  begun 
till  near  the  end  of  the  century. 
In  1567  Pellegrino  Pellegrini 
was  called  from  Brescia  as  archi- 
tect of  the  fa9ade,  which  was 
begun  in  the  Renaissance  style. 
The  work  made  slow  progress, 
and  in  1038,  during  a  visit  of 
the  King  of  Spain,  one  Buzi, 
who  accompanied  him,  protest- 
ed against  the  change  of  style 
and  submitted  two  Gothic  de- 
signs, one  of  which  was  ac- 
cepted, and  Buzi  remained  in 
charge  of  the  work  till  his  deatli 
in  1658.  The  Renaissance  doors 
and  windows  of  Pellegrini  were. 
however,  suffered  to  renuun. 
The  fa9ade  was  unfinished  at 
Buzi's  deatli,  and  several  de- 
signs then  made  for  its  com- 
pletion are  preserved,  among 
them  one  with  two  great 
square  angle-towers  projecting 
both  from  the  front  and  sides 
finally  completed  by  order  of  Napoleon  in 
1806-13,  from  the  designs  of  Amati.  This 
facade  has  always  been  a  reproach  to  the 
cathedral,  and  lately  a  competition  has 
been  held  among  various  architects  for 
a  design  for  a  new  front.  The  first  prize 
was  given  to  Brentano  of  Milan,  who, 
however,  died  in  1891.  {See  Figs.  108, 
109.) 


Ohi'EDAi.K  Machuoke,  or  Gkaxue  (the 
Great  Hospital),  one  of  the  most  remark- 
able buildings  of  Milan,  was  founded  in 
1456  by  Duke  Francesco  Sforza  and  his 
wife,  at  a  time  when  the  Gothic  style  was 
passing  out  of  use,  but  some  of  its  spirit 
was  preserved  in  the  design  by  Filarete. 
Tlie  project  was  on  an  imposing  scale, 
comprising  a  great  central  court  240  ft. 
by  Hb  ft.,  with  wings  on  either  side  cov- 


It  was 


Fig.  109.— Milan.  Cathedral,  Interior. 

ering  each  a  space  about  340  ft.  square, 
and  composed  of  rectangular  masses  of 
building,  enclosing  four  courts  about  90 
ft.  square  each.  Of  this  vast  design  only 
the  north  wing  was  carried  out  under  the 
Sforzas  ;  but  toward  the  end  of  the  xv 
cent.  Bramante  added  an  arcade  which 
formed  one  side  of  the  great  central  court, 
and  the  remainder  of  the  court  was  built 
in  1G21  bv  Riechini,  substantially  in  ac- 


215 


MILAN 


ft.  long,  is  built  in  accordance  with  tlie 
original  design  of  Filarete.  The  lower 
story,  standing  on  a  high  basement,  con- 
sists of  a  wall-arcade  of  round  arches  on 


cordance  with  Braniante's  design.  It  is  plain  wall  with  windows  like  those  below, 
surrounded  by  two  stories  of  arcades  on  set  in  square  panels.  The  profuse  deco- 
columns  Ionic  below.  Composite  above,  ration  of  this  fa9ade.  like  that  of  the  great 
originally  entirely  open,  but  later  blocked  court,  is  all  executed  in  terra-cotta,  and  is 
on  two  sides  in  the  upper  story  with  square  one  of  the  most  notable  examples  of  the 
windoAVs.  Over  each  of  the  two  stories  perfection  which  the  Itidians  attained  in 
runs  an  entablature,  richly  decorated,  as  the  use  of  this  material.  In  the  centre  of 
are  the  spandrels  and  soffits  :  the  upper  the  front  is  interpcdated  an  entrance  like 
cornice  ])rojecting  boldly  on  corbels.  The  a  triumphal  arch  with  two  engaged  Co- 
remaining  portions  of  the  original  plan  rinthian  orders,  awkwardly  finishing  with 
were  successively  completed  under  various  three  kinds  of  pediments  one  inside  the 
architects.  The  street  front  measures  other.  A  plain  attic  story  has  been  added 
some  900  ft.,  of  which  the  central  por-  to  the  faf;ade  in  recent  times,  quite  out  of 
tion  in  front  of  the  great  court,  about  2.50     keeping  with  the  older  architecture.     {See 

Fig.  110.) 

Palazzo  Makixu,  a  sumptuous  palace 
of  great  extent,  built  from  the  designs  of 
(laleazzo  Alessi  about  1.500,  by  Tonimaso 
Marino,  a  wealthy  banker  of 
Genoa,  in  the  service  of  the 
Spanish  Government,  by  which 
it  was  confiscated,  and  from 
which  it  passed  into  the  hands 
successively  of  the  Eni])ress  Ma- 
ria Theresa  and  of  the  munici- 
pality of  Milan.  The  palace 
covers  an  area  about  275  ft. 
.square,  with  fa9ades  on  four 
streets.  Of  these  the  principal 
is  in  three  high  stages,  each  or- 
namented witii  an  order  of  jii- 
lasters,  those  of  the  first  and 
second  stories  Doric  and  Tonic 
respectively,  that  of  the  third 
story  with  hcrmcn  or  terminal 
[lilasters  and  a  richly  decorated 
rornicc.  The  great  interior 
court  is  surrounded  by  two 
stories  of  arcades  decorated 
with  extravagant  richness,  and 
the  great  hall  which  ojiens  from  it  is  per- 
haps even  more  overloaded  witii  ornament, 
though  it  is  still  incomplete. 

Palazzo  (Loggia)  degli  Osii.  A  fa- 
(;ade  with  a  two-storied  loggia — remnant 
of  the  XIII  cent.  Palazzo  Pubblico.  Be- 
low are  five  broad  round  arches  on  piers 
renewed  in  1650.     Above,  slender  grouped 


M  Ian    Ospedale  Grande,  Court-yard, 


stout  three-(|uart('r  cohunns,  and  eni-los- 
iiig  pointed  windows  each  with  two  sub- 
arches  and  a  dividing  column,  encom- 
passed by  a  hroail  border  of  rich  sculjiturc. 
All  the  .spandrels  are  filled  with  roundels 
enclosing  busts  in  high  relief.  A  high 
frieze  charged  with  reliefs  separates  the 
two   stories,    of  which   the   upi)er   has   a 


81  e 


MILAN 


columns  carry  pointed  arclit's.  I'onncrly 
open,  now  filled  with  modern  windows,  aiid 
standing  on  a  panelled  belt  decorated  with 
armorial  shields.  The  third  story  was  a 
gallery  iu  five  groups  of  three  round  arches, 
the  end  groups  now  built  up,  the 
others  occupied  by  statues,  of  the 
XV  century.  Next  it  are  the 
former  Scuole  Palatine,  with  a 
graceful  arcade  of  coupled  col- 
umns and  second  story  of  en- 
riched windows,  crowned  by  a 
bare  modern  attic.  (Sec  Fi//.  111.) 

The  Palazzo  Reale  (Uoyal 
Palace)  stands  on  the  site  of  the 
old  medieval  jjalace  built  by  Azzo 
Visconti  in  i;]:30,  of  which  noth- 
ing remains  but  the  choir  and 
tower  of  the  chapel,  now  known 
as  S.  Gottardo  {q.  v.).  The  old 
buildings  were  removed  partly 
by  Uian  Galeazzo  Visconti,  to 
make  room  for  the  cathedral ; 
near  158U  what  remained  was  substan- 
tially rebuilt  in  the  style  of  the  Renais- 
sance by  Ambrogio  Piscina,  and  in  1771 
a  final  restoration  under  Piermarini 
brought  it  to  its  present  condition.  The 
palace  is  of  irregular  plan,  covering  iin 
immense  extent  of  ground,  with  its  prin- 
cipal front  facing  the  south  flank  of  the 
cathedral.  It  is  about  230  ft.  long,  in 
three  stories,  the  first  a  basement  of  rustic 
masonry,  with  arched  entrance  in  the 
middle,  the  two  upper  stories  embraced  in 
an  order  of  flat  Ionic  pilasters,  with  a 
prominent  cornice,  the  centre  slightly 
broken  forward,  with  engaged  columns  and 
a  high  panelled  attic.  The  interior  con- 
tains many  state  apartments  sumptuously 
adorned,  but  of  no  architectural  interest. 

S.  Ambrogio  (fSt.  Ambrose),  is  perhaps 
the  most  interesting  of  Lombard  churches 
in  Italy,  historically  and  architecturally. 
It  may  be  called  a  typical  Romanesque 
basilica,  with  atrium  or  fore-court,  nar- 
tliex,  nave,  aisles,  and  tribune,  great  cen- 
tral lantern,    but    without  transept,  and 


flanking  western  towers.  Its  total  length 
is  about  390  ft.,  its  breadth  (which  is  uni- 
form throughout,  the  lines  of  the  aisle- 
walls  continuing  those  of  the  atrium) 
something  less  than  90  ft.     Tlic  atrium  is 


Fig.  i  i  i.— iv 


a  grand  open  court  about  4*;  ft.  wide  and 
118  ft.  long,  enclosed  by  groin-vaulted 
arcades  of  round  arches,  carried  on  grouped 
shafts  with  low  capitals  of  extremely  va- 
ried design,  strongly  Byzantine  in  char- 
acter, from  which  slender  engaged  shafts 
with  base  and  capital  rise  through  the 
spandrels  to  an  arched  corbel-table  and  a 
simply  moulded  (cornice.  The  atrium  is 
faced  by  the  great  facade  of  the  church, 
covered  by  a  single  unbroken  gable  of  low 
IDitch,  under  which  are  the  two  open 
arcades  of  the  narthex.  The  lower  arcade 
is  essentially  a  continuation  of  those  of 
the  atrium.  Over  it  is  a  vaulted  gallery 
with  five  arches  corresponding  to  those 
below,  but  graduated  in  height  to  follow 
the  rake  of  the  gable.  Each  of  these  di- 
visions is  occupied  by  a  single  round  arch  ; 
the  arches  spring  from  grouped  shafts, 
matching  those  of  the  atrium,  but  of 
greater  richness  and  variety,  and  with 
richly  sculptured  archivolts.  The  rear 
wall  of  the  narthex  and  west  wall  of  the 
church    is   jjierced  in   the   first   story  bv 


.MILAN 


three  doorways  giving  access  to  nave  and 
aisles,  and  in  the  second  by  three  hirge 
round -arclied  windows  under  the  nave 
vault ;  ujjon  whicli  the  nave,  having  no 
clerestory,  depends  for  light.  The  front  is 
flanked  hy  two  square  campaniles  varying 
much  in  design,  aud  of  widely  dift'erent 
ages,  that  on  the  south,  very  plain,  being 
presumably  contemjioraneous  with  the 
oldest  existing  portions  of  the  church, 
while  that  on  the  north  belongs  probal)ly 
to  the  XII  century.  The  great  central 
lantern  is  one  of  the  most  striking  external 
features  of  the  church.  It  is  of  the  full 
breadth  of  the  nave,  about  -48  ft.  exter- 
nally, and  shows  above  the  roof  an  octa- 
gon of  two  stories  of  arcaded  galleries, 
the  upper  arches  much  larger  and  higher 
than  tlie  lower,  under  a  rich  cornice  with 
intersecting  arches,  crowned  by  a  low 
pyramidal  roof.  In  the  interior,  the  nave 
is  considerably  more  than  twice  as  broad 
as  the  aisles.  It  is  divided  into  four  bays 
by  massive  grouped  piers  with  flat  pilas- 
ters toward  nave  and  aisles,  from  the 
capitals  of  which  transverse  round  arches 
cross  the  nave  and  aisles.  Between  the 
great  piers  are  smaller  intermediate  piers, 
carrying  two  rather  low  rouiul  arches  to 
each  bay  of  the  nave.  Arches  also  cross 
the  aisles  from  the  intermediate  piers, 
nave  and  aisles  being  thus  divided  into 
square  bays,  two  to  one,  covered  with 
simple  four-part  vaulting,  the  vaults  of 
the  nave  having  strong  square  diagonal 
ribs  of  brick  with  occasional  stone  vous- 
soirs,  while  those  of  the  aisles  have  none. 
Above  the  aisle  vaulting  is  a  gallerv, 
opening  into  the  nave  by  arches  precisely 
similar  to  those  below,  but  lower,  vaulted 
like  the  aisles  below,  and  lighted  like 
them  by  windows  in  the  external  wall. 
Over  the  fourth  and  last  bay  of  the  nave 
rises  the  octagonal  lantern,  its  diagonal 
faces  carried  on  squincjies.  The  vertical 
wall,  though  high  outside,  is  low  inside 
and  pierced  by  a  single  round-headed  win- 
dow in  each  face.     The  jjointed  dome  is 


without  cornice  or  other  architectural  feat- 
ure, is  decorated  with  frescoes  of  the  xvi 
cent.,  and  has  a  window  in  each  face  just 
above  the  spring.  The  choir  opens  from 
the  nave  by  a  single  round  arch  as  broad 
as  the  other  transverse  arches  and  lower. 
It  has  a  shallow  oblong  bay  covered  by 
a  barrel-vault,  and  a  round  apse  with 
a  hcmis23lierical  dome,  lighted  by  three 
round-headed  windows.  The  circular  wall 
was  formerly  lined  with  marble  benches 
for  the  clergy,  in  the  centre  of  which 
wiis  raised  the  cathedra  or  bishop's  chair. 
The  chair  remains' — a  rude  seat  built 
up  of  stone  masonry,  covered  by  a  mar- 
ble slab,  and  enclosed  on  either  side  by 
similar  slabs,  on  each  of  which  is  the 
figure  of  a  lion.  The  benches  were  dis- 
placed in  the  XIV  cent.  l)y  wooden  cano- 
pied stalls.  The  original  decoration  of 
the  choir  was  elaborate.  The  hemispheri- 
cal vault  of  the  apse  still  retains  its  splen- 
did mosaic  on  a  gold  ground,  dating  from 
880.  A  similar  decoration  covered  the 
wall  between  the  windows,  of  which  only 
a  trace  remains.  The  same  may  be  said 
of  the  frescoes  with  which  tlie  remaining 
walls  of  the  tribune  were  adorned.  The 
floor  of  the  choir  is  raised  al)out  0  ft. 
above  that  of  the  nave,  and  beneath  it  is  a 
crypt,  dating  from  78-1,  but  repaired  in 
I'-iOO,  divided  into  five  vaulted  aisles  by 
columns  of  red  marble,  with  black  marble 
Doric  capitals,  and  opening  into  the  nave 
by  low  round  arches,  two  on  either  side  of 
the  high  altar.  The  lower  tribune  is  di- 
vided from  the  nave  by  a  platform — still 
higher  by  several  steps  than  the  pavement 
of  the  nave — upon  which  stands  the  high 
altar,  a  superb  example  of  goldsmith's 
work,  of  which  the  four  faces  are  panelled, 
the  panels  filled  with  figure  suljjects  in 
relief,  aiul  the  whole  lavishly  adorned 
with  gold,  enamel,  and  precious  stones. 
Over  the  altar  is  a  baldacchino  or  cibo- 
rium,  which  is  one  of  the  most  notable 
works  of  the  kind  in  existence.  It  con- 
sists of  four  columns  of  polished  porphyry. 


218 


MILAN 


whose  bases  are  beneatli  the  present  pave- 
ment of  the  church,  with  capitals  of  white 
marble,  joined  by  stilted  round  arches, 
surmounted  by  a  high  gable  on  each  face, 
and  enclosing  a  groined  vault,  of  which 
the  thrust  is  met  by  iron  tie-rods.  The 
arches  and  gables  are  executed  in  rough 
masonry  and  covered  with  stucco,  but  the 
decoration  of   this   stucco — of  the   archi- 


ancient  sarcojshagus,  presumed  to  be  of  the 
IV  cent.,  and  partly  on  seven  slender  col- 
umns carrying  round  arches.  The  pulpit 
is  covered  with  sculjiture,  representing  an 
immense  variety  of  men  and  animals,  of 
which  the  character  is  so  vigorous  and 
telling,  and  the  action  so  full  of  Gothic 
energy  and  vivacity,  as  to  place  the  work 
in    the  first  rank   of  earlv  medi;¥val  art. 


volts  and  soffits  of  the  arches,  the  pilasters 
at  the  angles,  the  groups  in  bas-reliefs 
under  the  gables,  the  birds  on  the  abaci 
of  the  capitals — is  to  be  raTiked  among  the 
most  admirable  works  of  mediseval  art. 
All  is  reinforced  with  gold  and  color. 
which  has  recently  been  renewed  as  nearly 
as  possible  in  accordance  with  the  original. 
Scarcely  less  remarkable  than  the  cibo- 
rium  and  altar  is  the  white  marble  puljiit, 
which  is  set  against  one  of  the  northerly 
piers  of  the  nave.     It  rests  partly  on  an 


The  original  church,  from  which  the  pres- 
ent basilica  has  grown  by  successive  re- 
buildings  and  additions,  was  built  by  St. 
Ambrose,  and  by  him  conseci-ated  in  386. 
It  is  said  that  he  caused  his  tomb  to  be  jjre- 
pared  under  the  altar,  and  the  sarcojdiagus 
which  stands  under  the  altar  of  the  present 
church  is  i^opularly  supposed  to  contain  his 
remains.  From  the  iv  to  the  viii  cent, 
the  history  of  the  church  is  not  known. 
It  was  jirobably  destroyed  and  rebuilt,  and 
portions  of  the  present  structure  (as  the 


219 


MILAX 


apses  and  tliu  hays  next  them)  ]irobal)ly 
date  from  Archbisho])  Angilbert  II.,  be- 


Fig.  113, — Milan,  S.  AmbfOgio.  Interior. 

twcon  S'ii  and  859.  Tlie  atrium,  ac- 
cording to  a  seinilchral  inscription,  was 
built  under  Anspertus,  between  868  and 
881,  the  northern  tower  in  11-29.  It  lias 
been  believed  by  most  authorities,  includ- 
ing Dartein,  that  the  church  as  we  see  it 
is  mostly  the  work  of  Anspertus,  but  the 
latest,  Cattaneo,  argues  plausibly  that  it 
is  from  a  later  rcliuilding  in  the  xr  cent., 
and  that  the  atrium  is  a  half  century  later 
tlian  tile  nave  and  aisles.  In  1196  por- 
tions of  the  roofs  of  the  nave  and  choir 
fell  in,  causing  a  partial  destruction  of 
the  body  of  the  church.  When  tlie  re- 
building was  undertaken,  the  central  lan- 
tern was  added.  In  1631  the  atrium, 
which  liad  become  ruinous,  was  repaired. 
Since  1870  the  whole  church  has  under- 
gone a  thorough  restoration.  (See  Figs. 
IIJ,  ll.J,  m.) 

S.  Carlo  Bhuhomeo,  a  Renaissance 
eliurcli  begun  in  18.38  from  the  designs  of 
Amati.  Its  plan  is  a  circle  10.")  ft.  in  di- 
ameter, covered  by  a  dome  of  tlie  same 
diameter,  120  ft.  high,  crowned  with  a  lan- 
tern, and  liglited  by  two  stories  of  win- 
dows. The  walls  are  adorned  liy  an  order 
of    Corinthian    columns    of    wd    marbh'. 


Tlic  church  stands  at  the  base  of  a  square 
court  of  whicli  the  sides  are  formed  by 
commercial  buildings  five  stories 
high.  A  Corinthian  colonnade 
is  carried  round  this  court ;  a 
[lortion  of  it  is  broken  forward 
to  form  a  facade  for  the  church, 
making  an  octostyle  portico, 
with  a  iK'diment  charged  with 
sculjiture,  above  which,  and 
quite  overwhelming  it  by  its  size 
and  height,  rises  the  great  dome 
surrounded  by  Corinthian  j^ilas- 
ters,  the  intervals  filled  alter- 
nately by  square  windows  witli 
tlat  caps,  and  circular  niches  en- 
chising  statues. 

S.  Celso  is  but  a  fragment  of 

a  X  or  XI  cent.  LomI)ard  church, 

which  replaced  an  earlier  one. 

The  greater  part  of  the  present  building 

was  demolislieil  in  1818  to  open  the  south 


Fig,  1  14.— Milan.  S.  Ambrogio,  Plan. 
Scale  of  100  feet. 

side  of  the  Church  of  the  Assumption. 
The  apse  with  one  bay  of   the  nave  was 


aao 


MILAN 


spared,  and  a  new  front  was  built  across 
the  west  end,  in  wliicli  was  j^reserved  the 
old  central  doorway  of  the  original  facade, 
with  some  admirable  sculpture.    The  high 
square  tower,  of  brick  with  stone  angle- 
quoins,  standing  at  the  east  end  of  the  south 
aisle,  also  belonged  to  the  old  Lombard 
church.     The  nave  originally  consisted  of 
three  bays,  divided  by  grouped  stone  piers, 
with  four  faces  of  square  pilasters,  from 
which  transverse  and  longitudinal  round 
arches  were  carried  across  nave  and  aisles 
and  to  intermediate  nave  piers.    Trans- 
verse arches   subdivide  the  aisles   into 
square  bays,  two  to  each  of  the  nave  bays, 
those  of  the  aisles  being  covered  with 
four-part  vaults,  and  those  of  the  nave 
by  barrel-vaults.     The  apse,  rather  less 
than  a  semicircle  in  jjlan  and  lighted  by 
three  windows,  has  an  arched   corbel- 
table  under  the  cornice,  which  is  sur- 
mounted  by  a  semi-dome.     The   inte- 
rior, with  the  excejition  of  the  jners,  is 
wholly  of  bi'ick.     The  sculpture  of  the 
capitals  is  interesting — its  character  is 
Byzantine,    foliage   and   classic    details 
being  mingled  with  figures  of  birds  and 
animals  in  vigorous  action  as  at  S.  Am- 
brogio. 

S.  ErsTOUGio.  one  of  the  oldest  of  the 
Lombard  churches,  but  largely  restored 
in  modern  times  ;  a  simple  basilica  of 
brick,  about  21.5  ft.  long  and  75  ft.  broad. 
The  facade,  which  was  rebuilt  in  1863-G.'). 
but  in  which  the  old  architecture  is  substan- 
tially adhered  to.  has  a  single  low  gable, 
with  arcaded  cornices.     Two  square  stone 
buttresses  half  as  high  as  the  front  divide 
the  lower  portion  into  three  compartments 
with  three  round-arched  doorways,  of  which 
the  middle  one  has  a  gabled  porch.     Over 
each  doorway  is  a  two-light  round-headed 
window,  and  in  the  central  division  are 
two   similar   single  windows.     The  south 
side  shows  a  succession  of  low  gables  and 
chapels.    The  eastern  apse  has  square  but- 
tresses with  large  windows  between,  and 
behind  it  is  a  large  square  chapel  dedicat- 


ed to  St.  Peter  Martyr,  with  angle  })iiiiui- 
cles  and  a  cupola  or  lantern,  built  in 
1460  by  Michelozzo  Michelozzi.  A  tall, 
slender,  brick  camjianile,  divided  into  six 
stories  by  arched  corl)el-taljles,  with  two- 
light  windows  in  the  belfry,  and  a  sharp 
spire,  stands  at  the  S.  E.  angle  of  the 
church.  The  interior,  which  has  been 
repeatedly   restored    and    modernized,    is 


Fig.  115. -Ml 


o1    bt    Peter   Martyr. 


full  of  irregularities.  The  nave,  about  40 
ft.  wide,  is  in  eight  bays — the  piers  vary- 
ing greatly  in  form,  but  for  the  most  part 
grouped — a  shaft  or  pilaster  toward  nave 
and  aisle,  from  the  capital  of  which  a  round 
transverse  arch  is  thrown  across,  two 
others  which  carry  the  round  nave  arches, 
and  square  members  in  the  angles  which 
run  up  to  take  the  diagonal  vaulting-ribs. 
The  aisles  are  of  different  heights,  the 
arches  of  different  forms,  and  built  some 
with  brick  only,  some  with  occasional 
stone  voi;ssoirs.  The  nave  vaulting  dates 
from  the  xiii  cent.,  the  roof  having  been 
originally  of  wood,  while  the  aisles  were 


221 


MILAN 


probably  vaulted  from  the  first.  From 
the  east  end  opens  a  central  tribune  in 
one  square  vaulted  bay,  terminating  in  an 
apse,  and  the  aisle  bays  are  extended  un- 
der continuous  vaults  into  side  chapels. 
The  tribune  was  originally  level  with  the 
nave,  but  the  building  of  a  crypt  in  1537 
caused  the  floor  to  be  raised.  The  orig- 
inal church  is  said  to  liave  been  founded 
by  Eustorgius  himself,  who  occupied  the 
chair  of  Milan  from  315  to  331.  It  was 
probably  rebuilt  in  the  ix  cent.,  and  the 
apse  may  date  from  that  time  ;  the  body 
of  the  cliurcli  is  less  old.  The  campanile 
was  built  1297-1309.  The  church  con- 
tains many  interesting  tombs,  notably  that 
of  Peter  of  Verona,  by  Balducci  of  Pisa, 
dating  from  1339.  which  formerly  stood  in 
the  middle  of  the  nave,  but  is  now  under 
the  dome  of  the  chapel  of  St.  Peter  3Iar- 
tyr.  Traces  of  jmintings  have  been  found 
on  the  nave-piers.     {See  Fig.  115.) 

S.  Fedele,  a  Eenaissance  church  built 
between  the  years  15G9-15T9  for  the 
Jesuits,  l)y  Pellegrino  Pellegrini,  called 
Tibaldi,  under  the  authority  of  S.  Carlo 
Borromeo.  Its  plan  is  extremely  simple — 
a  rectangular  hall  about  02  ft.  wide  and 
111  ft.  long,  its  walls  decorated  with  an 
order  of  composite  pilasters  in  the  inter- 
vals of  which  are  shallow  arched  recesses. 
The  length  of  this  hall  is  divided  by  de- 
tached columns  of  polished  red  granite  and 
a  transverse  arch  into  two  nearly  square 
bays,  covered  with  very  low  domical  vaults. 
The  square  choir  is  covered  by  a  hemi- 
spherical dome  raised  on  a  high  tambour. 
The  whole  interior  is  richly  decorated. 
The  exterior  is  in  two  stages,  each  consisting 
of  an  order  of  engaged  composite  columns 
and  pilasters,  on  a  high  pedestal  course. 
The  facade  has  a  high  central  doorway,  a 
large  window  over  it.  and  all  the  other  in- 
tervals filled  with  nnich  decorated  niches, 
panels,  or  bas-reliefs,  for  the  most  part  in 
questionalile  taste.  The  fa(;ade.  left  unfin- 
ished ,was  added  as  late  as  1 835  by  Pestagal  11. 

S.  GoTT.VKDO.  an  interesting  fragment 


of  the  old  (•lia2)el  which  Avas  incorporated 
in  the  early  iialaee  of  the  Visconti,  built 
about  1335  and  afterward  altered  into  tlie 
present  Palazzo  Keale  {q.  v.).  The  cha]>el, 
perhajis  a  century  and  a  half  older,  Avas  of 
the  Lombard  style,  built  of  brick  with 
terra-cotta  ornaments.  The  portions  w]\ich 
remain  are  the  apse  of  the  choir,  octago- 
nal, witli  small  angle  shafts,  an  arcaded 
gallery  at  the  top  of  the  wall,  with  narrow 
round  arches  without  columns,  covered 
by  an  octagonal  roof  crowned  by  a  lantern 
— and  a  fine  tower  on  its  south  flank, 
also  octagonal,  with  angle  shafts  running 
through  its  whole  height,  divided  into 
many  stages  by  string-courses  of  intersect- 
ing arches.  A  double  arcaded  gallery  en- 
circles the  head  of  the  tower,  above  which 
rises  a  smaller  octagon  in  two  stages,  the 
ujiper  with  an  open  arcade,  crowned  by  a 
conical  spire.  The  tower  was  probably 
Lombard,  but  considerably  altered  in  the 
XIV  century.     {See  Fig.  108.) 

S.  LoKESZo,  one  of  the  most  ancient 
and  important  churches  in  ^lilan.  Its 
origin  is  doubtful  and  has  been  the  subject 
of  much  controversy  among  archasologists, 
but  there  is  little  doubt  that  in  whole  or  in 
jiart  it  was  in  its  earliest  form  a  rebuild- 
ing of  an  old  Roman  monument.  It  is  ap- 
proached from  the  modern  street  under  a 
colonnade  of  sixteen  Corinthian  columns, 
]iresumed  to  form  a  part  of  the  portico  of 
the  old  Ponian  Paths,  built  toward  the 
end  of  the  in  century.  From  this  ]iortico 
one  passes  into  a  square  atrium  or  fore- 
court, of  which  the  surrounding  arcades 
have  wholly  disappeared,  and  of  which  the 
farther  side  is  occupied  by  the  front  of 
tJie  church.  Its  plan  is  essentially  a  square 
of  75  ft.  with  semicircular  apses  or  trib- 
unes on  four  sides,  and  the  corners  cut  off 
between  by  arches,  making  an  octagon  of 
unequal  sides,  and  leaving  triangular  re- 
cesses in  the  corners.  A  two-story  vaulted 
aisle  is  carried  round  the  whole,  following 
tlie  outline  of  the  plan  and  separated  from 
the  central  .space  l)y  colonnades — Doric  be- 


222 


MILAN 


low  ami  Ionic  above — an   arrangement  so 
mucli   resembling   that  of  the    Byzantine 
church  of  S.  Yitale  at  Kaveiiiia,  as  to  have 
led  some  authorities  to  consider  the  two 
l)uil dings  contemjiorary.     'L'he 
opening  of  the  apse  on  each  side  is 
coverecl  liy  a   round  arch,   above 
which    a    Doric  cornice   encircles 
the  octagon.     From  this  cornice 
springs   a    high    octagonal    dome 
with  a  window  in  each  compart- 
ment.    The  dome  has   been  sev- 
eral  times  destroyed  and  rebuilt. 
and  at  each  rebuilding  has  sulfered 
a    change   of  form.     Four    small 
square  towers,  standing  at  the  an- 
gle of  the  original  square  of  the 
hall,   unite  the  exterior  walls   of 
the  circular  aisles.     The  prepon- 
derance of  authority  seems  to  in- 
dicate the  ly  cent,  as  the  date  of 
this  interesting  mouument.     Un- 
der the  Lombard  kings  of  the  viii 
cent,  it  was  decorated  with  great 
splendor  —  its  roofs  and  towers 
blazed   with    gold,    and    its    interior   was 
adorned  with  precious  stones.    It  was  par- 
tially burned  in  lOTO  ;  in  1104  the  dome, 
with  a  portion  of  the  walls,   fell  in  ;  in 
1124  a   second   fire   partly   destroyed   it, 
in  15T5   the  dome  and  vaults  again  fell, 
after  which  the  church  took  the  form  in 
which  it  now  exists.     Opening  from  the 
circular  aisles  on  three  sides  (the  western 
entrance  occupying  tlie  fourth)  are  three 
detached  chapels  of  early  date,  doubtless 
built  up  from  the  foundations  of  apart- 
ments in  the  Roman  buildings  supplement- 
ary to  the  great  hall.     The  most  impor- 
tant of  these  is  the  Chapel  of  8.  Aquilino, 
a  vaulted  octagonal  building  about  40  ft. 
in  internal  diameter,  with   niches   alter- 
nately square  and  round  occupying  each 
side   of  the   octagon,    and   built   in    the 
thickness  of  the  walls,  which  is  about  11 
ft.     Between   the  crown   of  these  niches 
and  the  spring  of  the  dome  is  a  gallery, 
also  built  in  the  thickness  of  the  wall  and 


opening  into  the  chapel  by  a  In'oad  arch 
on  each  side.  The  dome  is  low,  octagonal, 
and  about  GO  ft.  high  from  the  ijavemeut. 
On    the   exterior   is   an    arcaded    gallery 


Fig    I  le,  — Milan,  b    Loienzn 

masking  the  dome,  similar  to  those  of  the 
central  lanterns  in  the  Lombard  churches, 
but  without  columns,  the  arches  carried 
on  brick  piers.  Buttresses  of  slight  pro- 
jection reinforce  the  angles.  The  roof  is 
conical  and  low.  The  dome  and  vaults 
were  originally  covered  with  mosaics,  which 
were  still  perfect  as  late  as  the  beginning 
of  the  XVII  cent.,  but  of  which  only  a 
few  fragments  now  remain,  'riiis  chajjel 
is  presumed  to  be  as  old  as  the  v  century. 
On  the  north  side  of  the  church  is  the 
Chapel  of  S.  Sisto,  somewhat  similar  to  S. 
Aquilino  in  plan  and  general  construction, 
but  much  smaller  and  lower  and  without 
galleries.  On  the  east  is  the  Chapel  of  S. 
ilippolito,  cruciform  in  plan  within,  octag- 
onal without,  and  covered  with  a  groined 
vault.  Four  angle-shafts  carry  the  arches 
which  enclose  the  four-part  vault.  The 
date  of  this  chapel  is  doubtful.  Various 
later  additions  surround  and  obscure  the 
original  form.     {See  Fig.  116.) 


MILAN 


The  Ciiluinns  of  S.  Lorenzo  are  the 
most  coiispicuoius  memorial  remaining  of 
the  Roman  Mediolanum.  The}'  consist  of 
sixteen  time-worn  fluted  Corinthian  col- 
umns of  white  marble,  29J  ft.  high,  and 
are  lield  to  be  part  of  a  colonnade  belong- 
ing to  the  Baths  of  Maximian,  dating  from 
the  III  century  A.n.  Portions  of  ancient 
walls  still  visible  in  the  church  doubtless 
belong  to  the  same  baths. 

Sta.  Makia  del  Carmine,  a  Gothic 
church  of  the  Carmelites  built  about  the 
middle  of  the  xv  cent.,  and  rejjeatedly  al- 
tered and  restored.  It  has  a  nave  of  three 
square  double  bays,  covered  by  four-part 
vaulting  springing  from  heavy  piers,  and 
subdivided  by  intermediate  piers  corre- 
sponding to  the  bays  of  the  aisles.  The 
transept  is  like  tlie  nave,  and  the  raised 
choir  is  in  two  narrow  vaulted  bays,  ter- 
minating in  a  round  apse.  The  front  has 
been  relniilt  in  a  poor  neo-Gothic  style. 

Sta.  Maria  presso  S.  Celso,  a  Re- 
naissance church  founded  b}^  Philip  Yis- 
conti,  the  last  duke  of  the  name,  and  re- 
markable for  the  sumptuousness  of  its 
materials  and  decoration.  The  church  is 
preceded  by  a  square  arcaded  atrium  in  the 
style  of  Bramante,  faced  with  an  order  of 
engaged  Corinthian  columns  on  pedestals. 
The  outer  front  wall  of  the  court  has  an 
order  of  flat  Corinthian  columns,  coupled 
on  pedestals.  In  the  rear  is  the  west 
front  of  the  church,  an  extravagant  com- 
position overloaded  with  ornamental  feat- 
ures dating  from  the  xvi  cent.,  and  at- 
tributed in  whole  or  in  part  to  Galeazzo 
Alessi.  The  interior  has  a  broad  nave 
covered  by  a  barrel-vault,  richly  panellcil 
and  decorated,  and  aisles  groined  in  square 
bays,  round  nave-arches  springing  from 
square  piers  fared  with  an  order  of  engageil 
Corinthian  columns  with  bronze  capitals, 
supporting  a  continuous  entablature  above 
the  arches.  The  crossing  is  covered  by 
a  polygonal  lantern  with  a  low  drum, 
an  external  open  gallery  aiul  a  low  i)olyg- 
onal  roof,  but  linishing  within  as  a  do- 


decagonal  dome.  Two  smaller  domes  of 
similar  form  cover  the  arms  of  the  tran- 
sept. The  choir  has  a  polygonal  end,  and 
the  aisle  is  carried  round  it.  The  walls 
and  j>avement  are  faced  and  inlaid  with 
rich  marbles. 

8ta.  Maria  delle  Grazie,  a  late 
Gothic  church  of  brick  with  Renaissance 
transept,  choir,  and  dome.  The  earlier 
portion,  which,  however,  antedates  the 
later  only  by  about  thirty  years,  consists  of 
a  nave  without  clerestory  but  with  two 
aisles,  each  with  a  range  of  chapels  open- 
ing from  it.  The  facjade  has  a  single 
broad  low  gable,  and  is  divided  into  five 
comjiartments  by  jilain  pilaster-strips,  end- 
ing in  an  arched  corbel-table  which  follows 
the  rake  of  the  roof.  In  the  three  middle 
compartments  are  bad  Renaissance  tloor- 
ways,  in  the  four  side  compartments 
pointed  windows.  Over  the  central  door- 
way is  a  large  round  window,  and  above  are 
five  smaller  ones  following  the  slope  of  the 
eaves.  The  side  elevations  have  in  each  bay 
two  simf)le  pointed  windows  with  a  round 
window  crowded  between  their  heads. 
But  the  noteworthy  feature  of  this  church 
is  the  great  central  lantern  or  dome,  ris- 
ing from  a  low,  square  tower,  which  oc- 
cujiies  the  whole  breadth  of  nave  and 
aisles.  From  the  north  and  south  walls 
of  this  base  project  round  apses,  and  from 
the  east  wall  a  square  choir,  also  terminat- 
ing in  an  ajise.  The  walls  are  divided  by 
pilasters  into  panels,  and  are  finished  above 
the  ridge  of  the  nave  roof  by  a  classical 
cornice.  The  great  dome  which  covers 
the  choir  is  masked  outside  by  a  sixteen- 
sided  lantern  with  an  open  eaves-gallery 
and  low  pointed  roof,  the  transition  from 
the  square  tower  below  being  broken  by 
small  apses  or  oriels  at  the  angles.  All 
this  ])ortion  of  the  church  is  the  work  of 
Branuiute  at  the  end  of  the  xv  century. 
The  walls  are  much  decorated,  particularly 
those  of  the  apses  and  choir,  which  are 
enriched  with  pilasters  and  cornices,  can- 
delabra-columns  and   panels   and    medal- 


S34 


MILAN 


lions  with   sculptured    heads.     Tiiese  eu- 
richracuts  are  for  the  most  part  exeeuted 
in  stone.     The  interior  sliows  a  nave  and 
aisles  of  seven  bays,  sipuiiv  in   tlie  aisles 
and  oblong  in  the  nave,  all  vaulted,  witli 
a  line  of  low  vaulted  chapels  openini;  from 
each  aisle,  with  windows  in  the  cniter  wall. 
The   nave    and   aisles    open    by 
pointed    arches    into    the   great 
square  choir,  which  is  quite  un- 
divided, and  is  covered  by    the 
hemispherical  dome.    The  chan- 
cel is  in  a  single  square  bay  cov- 
ered with  a  groin-vault  and  ter- 
minating in  an  apse  with  a  semi- 
dome.     A  long  sacristy  oi)eus 
near  the  end  of  the  north  aisle, 
which  has  on  the  doors  of  a  se- 
ries of  presses  which  contain  the 
vestments  of  the   priests,   some 
remarkable  paintings  by  Bernar- 
dino Luini ;  and  on  the  end  wall 
of  the  refectory  connected  with 
the  clnirch  is  all  which  remains 
of  the  Cenacoh.  or  Last  Su232uu-, 
by  Leonardo  da  Vinci.     The 
church  belongs  to  the  last  quar- 
ter of  the  XV  cent.  :   it  was  pro- 
jected   in    146i,    says    ^lotlies. 
{See  Fig.  117.) 

8.  M.vnuzio  (or  Monastero 
Maggiore),  a  small  Renaissance 
church  formerly  attached  to  the 
great  monastery,  by  which  name 
it  is  sometimes  known.  It  was 
built  about  1500  by  Dolcelniono,  a  pupil 
of  Bramante,  and  consists  of  a  rectangular 
nave  with  a  double  order  of  Doric  pilas- 
ters, the  lower  enclosing  rectangular  arclied 
recesses  or  shallow  chajiels,  the  upper  in 
each  bay  three  openings  divided  by  Corin- 
thian columns  with  a  centre  arcli  opening 
into  a  gallery  running  round  the  whole 
church  over  the  chapels.  The  interior  is 
covered  by  a  groined  vault,  decorated  with 
frescoes,  and  divided  by  a  panelled  screen 
rising  to  the  height  of  the  upper  cornice, 
jjainted  by  Luini. 


S.  ]\'.\zz.\Ko  .MAoiiioiiic,  an  ancient 
church  founded  by  St.  Ambrose  in  the  iv 
cent.,  but  substantially  changed  some  cen- 
turies later.  Its  plan  consists  of  a  nave  of 
two  square  groined  bays,  jjrojecting  tran- 
sejDts  each  with  a  single  oblong  bay  and  a 
round  apse,  and  a  choir  of  similar  disposi- 


Fig.  117.— Miian,  Sta.  Maria  delle   Grajta. 

tion  to  the  transept,  the  crossing  being 
covered  with  an  octagonal  dome  something 
over  80  ft.  high  from  the  floor.  Attached 
to  the  west  end  of  the  church  is  a  Kenais- 
sance  vestibule,  square  without  and  octag- 
onal within,  of  the  full  breadth  of  the 
nave  and  covered  by  a  donre,  on  the  walls 
of  which,  above  the  doors,  are  eight  sar- 
cophagi of  the  Trivulzio  family.  A  similar 
chapel  dedicated  to  St.  Catharine  is  at- 
tached to  the  west  wall  of  the  nave,  and 
at  the  N.  W.  corner  is  a  square  clock- 
tower. 


225 


MILAN 


8.  Satiko  is  u  Ik'naiswince  cliurcli  of 
the  XV  cent.,  ascrilied  td  Bramiiiite  :iml 
built  oil  the  foundations  of  a  Lombard 
church  dating  from  800,  portions  of  which 
still  remain.  The  plan  is  incomplete, 
forming  a  Latin  cross  witliout  the  choir 
arm.  There  is  a  short  uave  of  five  narrow 
bays,  with  side  aisles — a  transept  with  one 
side  aisle,  and  in  the  eastern  wall  of  the 
transept  a  shallow  recess  containing  the 
altar.  'J'iie  nave  is  covered  with  a  pan- 
elled barrel  -  vault,  and  the  aisles  are 
groined.  The  scpiare  piers  carry  round 
arches  in  the  intervals  of  an  order  of  Co- 
rinthian pilasters  with  richly  decorated  en- 
tablature. The  crossing  is  covered  with  a 
hemispherical  dome,  showing  outwardly  as 
a  round  lantern  with  a  low  conical  roof 
and  cupola.  The  interior  ornaments  are 
in  stucco  and  have  much  delicacy  ami  re- 
fliiement.     The  exterior  of  l.irick  has  an 


w 


^M'M 


'/^\0^^ 


order  of  Hat  Corintiiian  i)ilasters  with  a 
ligiit  entablature,  low  attic,  and  conspit'U- 
ous  lantern.     The  sacristy  in  the  angle  of 


tlie  south  aisle  and  transept,  undoubtedly 
an  early  work  of  IJramante.  is  an  octagon 
about  'i\  ft.  in  diameter  with  niches  on 
four  sides  and  square  recesses  on  the  other 
four,  enclosed  in  an  order  of  Corinthian 
pilasters  with  a  high  entablature.  A  sec- 
ond story  of  similar  design  is  covered  by 
a  high  elliptical  dome  with  a  tall  cupola. 
The  sacristy  is  considerably  higher  than 
the  church,  and  lavishly  decorated.  The 
ancient  chapel  of  S.  Satiro  opens  from 
the  iiortli  transept,  standing  oblique  to 
the  church,  and  is  a  square  of  about  iO 
ft.  with  four  columns  in  the  centre  sup- 
])ortiiig  an  octagonal  lantern,  and  semicir- 
cular niches  opening  from  three  sides.  It 
is  believed  to  be  part  of  the  old  church  of 
the  IX  cent.,  but  its  exterior  is  modern. 
The  tower  which  rises  near  it,  doubtless 
the  original  oni'.  is  strongly  Lombard  in 
character,  in  four  stages  with  ])ilaster- 
strips  ending  in  arched  corliel-tables  and 
small  round-headed  windows,  {See  Fiij. 
lis.) 

La  Scala,  one  of  the  largest  and  most 
celeljrated  theatres  in  Europe,  begun  in 
i;T(j  from  the  designs  of  Piermarini,  and 
completed  in  1778.  Its  plan  is  a  rec- 
tangle 130  ft.  wide  and  320  ft.  deep,  the 
<lepth  being  almost  exactly  divided  be- 
tween the  auditorium,  with  its  accessories, 
and  the  stage.  The  i^lan  of  the  audito- 
liimi  is  a  horseshoe,  measuring  87  ft.  in  its 
greatest  width,  10.3  ft.  in  dei^th  from  the 
curtain,  and  (i.")  ft.  in  height,  with  seven 
ranges  of  boxes.  The  width  of  the  cur- 
tain opening  is  49  ft.  Small  cabinets  cor- 
responding to  the  boxes  line  the  outside 
of  the  corridor,  which  two  staircases  di- 
vide into  three  nearly  equal  parts  ;  and  a 
folic)-  or  saloon,  20  ft.  by  80  ft.,  over  an 
entrance  hall  of  the  same  dimensions,  opens 
fnim  Ihe  rear  of  the  principal  range  of 
boxes,  the  front  of  tlie  building  being  oc- 
cuiued  l)y  apartments  for  the  ail  ministra- 
tion. Tiic  architecture  of  the  faQaile  is 
an  order  of  coupled  Corinthian  columns, 
between  a  basement  of  rustic  work  and  a 


•i-ia 


MILETUS 


liigli    attic   surinnnnteil    1)y   n   l>Mlustradc, 
with  a  j^ediment  over  tlie  central  portion. 

The  Villa  Re  ale  is  a  modem  pahice 
built  ill  1790  by  an  Austrian  architect  of  the 
name  of  Polack  for  the  count  Bclgiojoso, 
but  now  belonging  to  the  crown  prince  of 
Italy.  It  is  ail  extensive  building  with  a 
symmetrical  plan,  surrounding  three  sides 
of  a  court.  The  advancing  wings  have 
two  stories  of  simple  design,  the  centre, 
with  three,  is  marked  also  by  a  frontispiece 
of  engaged  Corinthian  columns.  The  gar- 
den facjade,  much  richer,  has  a  rustic  base- 
ment, and  above,  an  order  of  Ionic  col- 
umns and  pilasters,  embracing  two  stories 
and  enriched  with  carving. 
MILETUS  (Palattia),  Caria,  Asia  Minor. 

Temple  of  Apollo  DiDYM.Ers.  The 
oracle  of  this  ancient  sanctuary  was  al- 
ready renowned  over  a  thousand  years  be- 
fore Christ.  The  sanctuary  was  l)urned 
by  Darius,  and  after  a  more  or  less  com- 
plete restoration  was  entirely  ruined  by 
Xerxes.  It  was  again  restored  after  the 
Persian  wars.  The  style  of  the  existing 
remains  jTOints  to  the  Alexandrine  epoch. 
The  temple  in  its  final  form  was  contem- 
porary with  those  of  Ephesus  and  Mag- 
nesia ;  the  design  is  atti'ibuted  to  the 
architects  Dajjlinis,  of  Miletus,  and  Pai- 
onios  of  Ephesus,  the  designer  of  the  Ejjhe- 
siaii  temple  of  Diana.  Vitruvius  records 
an  ancient  estimate  of  this  temple,  with 
the  Artemision  at  Ephesus,  the  Sanctuary 
of  the  Mysteries  at  Eleusis,  and  the  Zeus 
temple  at  Olympia,  as  the  four  most  splen- 
did of  classical  antiquity.  It  was  never 
roofed  ;  Strabo  says  that  this  was  because 
of  the  enormous  span  to  be  covered.  The 
temple  remained  till  the  v  cent,  a.d.,  and 
was  no  doubt  overthrown  by  earthquakes. 
The  cella  walls  still  stand  all  round  to  a 
height  of  about  10  ft.  ;  they  are  '.)  ft.  thick, 
faced  with  gray  marble  and  filled  with 
rubble.  In  the  interior  they  were  orna- 
mented with  pilasters  corresponding  with 
the  interior  columns  ;  the  cajiitals  of  these 
pilasters  present  a  very  interesting  design 


— they  are  of  a  somewhat  Corinthian  out- 
line with  graceful  antheinion  ornament. 
Between  the  capitals  ran  a  frieze  of  grif- 
fins and  lyres.  The  temple  was  in  plan 
1.59  ft.  by  353  ft.,  measured  from  axis  to 
axis  of  the  angle-columns  ;  it  was  Ionic, 
decastyle,  dipteral,  on  a  stylobate  of  three 
steps,  with  twenty-one  columns  on  the 
flanks.  The  columns  were  (J  ft.  4  in.  in 
diameter  at  the  l>asc,  and  03  ft.  8  in.  high  ; 
the  iutercoluinniation  was  17  ft.  4  in. 
The  shafts  had  twenty-foui-  flutes  of  semi- 
circular section  and  no  decorated  necking. 
The  columns  of  the  front  had  polygonal 
plinths  ornamented  with  sculpture.  Three 
columns  are  still  standing  ;  two  of  them 
still  uphold  their  architrave,  the  third  is 
unfinished.  The  shafts  are  formed  of  fif- 
teen drums.  The  architrave  is  in  two 
slabs,  and  has  an  ornamental  moulding  at 
the  top.  The  volutes  of  the  capitals  were 
without  the  connecting  cushion.  The 
cella,  measuring  97  ft.  by  290  ft.,  is  re- 
stored (though  this  restoration  is  not  cer- 
tain at  all  points),  as  having  a  deep  pro- 
naos  with  four  columns  in  nnfis.  then, 
before  the  cella  proper,  an  enclosed  vesti- 
bule, and  at  the  back  a  chamber  divided 
from  the  main  cella  by  two  anta?  with  two 
columns  between  them.  There  were  prob- 
ably two  ranges  of  ten  columns  in  the 
cella  corresponding  with  the  pilasters  on 
the  walls,  and  two  columns  at  the  front 
end  connecting  the  side  ranges.  There 
was  no  ojjisthodomos. 

Theatre,  built  on  the  slope  of  a  hill, 
but  not  excavated  from  it.  It  is  entirely 
of  stone,  with  a  surrounding  wall  ;  the  ex- 
terior is  cased  with  marlfle  and  enriched 
with  sculpture.  In  plan  it  is  a  little  more 
than  a  semicircle  ;  the  exterior  diameter  is 
472  ft.,  that  of  the  orchestra  224  ft.  The 
elaborate  capitals  of  the  impost  pilasters 
are  composite,  with  Victories  introduced 
among  the  foliage.  Its  immense  walls  can 
be  seen  distinctly  from  Priene,  twelve  miles 
distant. 
MKES.     See  Chulant. 


■iit 


:\i()i)i:xA 


MODEXA.  I  tidy. 

Cathedkai,.  a  liiiiuaucs(|uc  cliurcli  of 
the  XII  cent,  with  iiuuiy  charaeteristiu 
features.  Its  dimensions  are  not  very 
large,  the  whole  length  being  somewhat 
less  than  200  ft.,  tlie  whole  breadth  about 
70  ft.,  the  breadth  of  nave  ;i,S  ft.  The 
front  follows  the  interior  section.  l)eing  in 
three  divisions,  tlie  nave  terminating  in  a 
low  gable  flanked  by  half  gables  against 
the  aisle  roofs.  lu  the  central  division  is 
a  high  round  -  arched  doorway  under  a 
shallow  porch,  with  columns  re^^ting  on 
lions.  The  porch  has  a  second  story  with 
a  broad  awkward  segmental  arch,  covered 
by  a  very  il:it  gable,  forming  a  shallow 
niche,  in  which  is  a  sarcophagus.  Above 
this  is  a  very  large  rose-window.  A  door- 
way opens  into  each  aisle,  with  a  horizim- 
tal  panel  over  it  filled  with  figures  in  re- 
lief. An  open  gallery  of  smaller  arches 
on  columns  grouped  in  threes  under 
enclosing  arches  runs  across  the  w-hole 
front  of  the  church  below  the  level  of  the 
aisle  roofs,  and  ;dong  the  sides  through 
the  whole  length  of  the  church  ;  the  end 
walls  of  the  transept,  which  do  not  pro- 
ject beyond  the  aisle  walls,  are  carried  up 
above  it  without  preparation  or  any  conso- 
nance of  design.  There  are  two  porches 
on  the  south  side,  one  near  the  western 
angle  and  a  lai'ger  one  midway  of  the  aisle. 
The  latter  is  of  two  stages,  the  first  stage 
having  a  broad  round  arch  on  columns 
resting  on  the  backs  of  lions,  the  second 
three  round  arches  and  a  low  gable.  The 
simple  clerestory  has  small  round-head- 
ed windows  between  flat  pilaster-strijis. 
The  east  end  is  wholly  occupied  by  the 
thi'ee  apses  of  the  choir  and  aisles,  the  cen- 
tral apse  a  story  higher  than  the  others, 
and  tlie  flat  end  wall  of  the  choir  rising 
above  it.  with  a  small  round  wiiulow.  a  low 
gable,  and  two  octagonal  turrets  at  the  an- 
gles terminating  in  open  arcades  and  oc- 
tagonal spires.  At  the  X.  E.  corner  stands 
a  fine  square  camj)anile  dating  from  KJli). 
in  si\-  stages,  of  which  the  last  two  appear 


to  have  been  added  at  a  later  date  and  are 
})crhaps  con tenijM) raucous  with  the  spire. 
The  interior  plan  is  in  some  respects  pe- 
culiar. The  nave  and  aisles  each  termi- 
nate in  an  eastern  apse,  the  transept  arms 
are  contained  witliin  the  aisle  walls.  T'he 
nave  has  four  square  double  bays ;  the 
aisles  iiave  two  bays  to  eacli  one  of  the 
nave.  The  choir  has  a  central  bay  en- 
closed l)y  screens  of  coupled  red  marble 
columns,  and  aisles  on  each  side.  Its 
raised  floor  is  aiijjroached  by  two  flights  of 
stairs  against  the  aisle  walls.  Beneath  the 
choir  is  a  lofty  crypt,  with  vaulted  ceiling 
supported  on  small  columns,  and  oj)ening 
into  the  nave  by  an  arcade  of  five  open- 
ings, the  columns  resting  on  animals. 
The  nave  piers  are  massive,  with  large 
vaulting  shafts  rising  through  the  trifo- 
rium  to  the  base  of  the  clerestory,  where 
their  capitals,  of  rather  classic  character, 
arc  connected  by  a  decorated  string-course. 
From  these  capitals  massive  pointed 
arches  are  thrown  across  the  nave,  and  the 
square  bays  between  are  roofed  each  by  a 
simple  four-part  vault.  Between  the  nave 
])icrs  are  low  round  arches,  two  to  each 
bay,  divided  by  an  intermediate  round  col- 
umn of  red  marble  with  foliated  ca]iital. 
Above  these  arches  is  a  broad  triforiuni 
with  low  bearing-arches  of  awkward  form 
enclosing  groups  of  three  round  arches, 
and  above  these  again  are  two  round-head- 
ed deeply  splayed  windows  in  each  l)ay. 
The  triforiuni  is  here  a  broad  gallery  orig- 
inally intended  for  the  use  of  the  female 
])ortion  of  the  worshippers,  and  opening 
into  the  aisles  as  well  as  the  nave.  The 
church  was  begun  in  1099,  and  consecrat- 
ed bv  Pope  Lucius  III.  in  1184. 
.MOLFETTA,  Italy. 

'I'he  former  C'ATilKDttAL.  dedicated  to 
SS.  Maria  and  C'ourado.  and  dating  yivoh- 
ably  from  the  later  half  of  the  ix  cent.,  is  a 
small  church,  interesting  as  an  example  of 
the  Byzantine  influence.  It  is  about  C2 
ft.  wide  and  10.5  ft.  long.  The  nave  is  of 
two  domed  bays  on  rouiul   arches  sjiring- 

*!S 


:\iox(;tovixo 


ilia:  from  coinjiDunil  jiicrs  witli  Iivzanliiic 
(•ajHtals.  The  crossing,  wliicli  is  the  ciioir. 
is  ii  s()iiare  liay  like  those  of  the  nave  with 
a  round  ajise.  and  is  covered  by 
a  liigher  dome,  elliptic  in  st'c- 
tion.  whose  jilau  is  round  within 
and  octagonal  without.  At  the 
bases  of  the  domes  are  small 
round  -  headed  windows.  T  h  e 
transept  ends,  which  jiroject 
slightly  beyond  the  aisle  walls, 
have  eacli  a  flat  apse.  These 
apses  do  not  show  without,  the 
east  wall  of  the  church  being 
straight.  The  floor  of  the  choir 
is  raised,  and  beneath  is  a  cryi't. 
Various  chapels,  some  modern, 
open  from  each  aisle.  The  west- 
ern porch  has  been  made  into 
chapels,  and  the  ^iresent  en- 
trances to  the  church  are  on  tiie 
sides.  Tlie  square  east  end  has  at 
its  base  a  blind  arcade  of  inter- 
lacing arches  and  a  single  large 
round-headed  window  lighting 
the  apse,  wliich  is  flanked  by  two 
tall  slender  towers,  with  three 
stories  of  two-light  windows,  and 
capped  with  an  arched  corbel- 
table  and  horizontal  cornice. 
(Sre  Fif/.  110.) 
MOXGIOVINO.  Italy. 

Church  of  the  Madoxxa, 
an  interesting  small  earlv  Ke- 


tals,  and  containing  on  the  transept-ends 
two  handsome  doorways  in  the  manner  of 
the  early    Reiuiissanee.      Above,  the  arms 


naissance  church  built  in   ].' 


-Ki   from 
Its  j)lan 


the  designs  of  Kocco  di  Vicenza. 
is  the  Byzantine  one  of  a  Greek  cross 
filled  out  to  a  sqiiare.  It  is  lined  with 
an  order  of  Corinthian  pilasters  which 
carry  the  barrel-vaults  of  the  arms,  while 
over  the  centre  is  a  high  dome  borne  on 
pendentives  by  four  st|uare  i)ilaster-like 
piers.  The  choir,  opening  from  the  east- 
ern arm,  is  a  miniature  barrel-vaulted  nave 
ending  in  an  aj:)se,  and  lined  with  a  small 
arcaded  order  of  jiilasters.  The  facades 
are  elegant,  faced  with  a  Corinthian  order, 
■which  is  that  of  the  inti>rior  set  on  ])edes- 


Fig    119  — MolfeHa.  CatheHral. 

of  the  cross  show  in  a  narrowed  second 
story,  flanked  by  scroll  buttresses  and 
pierced  each  by  a  small  rose,  but  lacking 
the  expected  pediment,  and  ending  in  a 
horizontal  cornice. 
MOXKEALE,  near  Palermo,  Sicily, 

The  Cathedral,  begun  in  oi-  before 
1187  by  William  II.,  the  Good,  is  a  three- 
aisled  basilica  some  300  ft.  long  by  120  ft, 
across  the  transept,  with  three  eastern 
bays  ending  in  round  apses,  which  form 
the  choir  and  adjacent  chapels.  The  front, 
retreating  behind  two  massive  square 
towers,  between  which  is  an  open  porch. 


MONEEALE 


has  been  considerably  (lcgra<l(Ml  by  altera- 
tions. The  porch  is  masked  by  a  Doric 
order  over  its  three  arches,  the  front  be- 
hind stripped  of  its  decorating  arcade  ;  and 
one  of  the  towers,  which  have  pointed 
windows  divided  by  mullion-shafts,  and  are 
robbed  of  their  tops,  is  a  mere  stnmp. 
The  rest  of  the  exterior  is  plain,  except 
the  east  end,  which  is  higher  and  broader 
than  the  nave.  Here  the  three  apses  are 
splendidly  decorated  with  three  stories  of 
interlacing  pointed  arcades,  bauds  of  mo- 
saic in  marbles  and  bituminons  stone,  col- 
umns, and  rosettes.  The  old  atrinm  be- 
fore the  front  furnished  the  columns  for 
an  open  arcade  built  on  the  north  side  at 
the  end  of  the  xvi  cent.,  and  on  the  south 
is  a  row  of  chapels  against  which  lies  the 
great  cloister  of  the  adjoining  monastery. 
The  interior  is  brilliant  with  mosaics  on 
gold  ground,  wainscoting  of  marble,  and 
painted  roofs.  The  nave,  -1.3  ft.  wide,  is 
in  eight  bays  of  stilted  pointed  arches, 
carried  on  antique  columns  of  granite,  of 


whicii  many  retain  their  original  cajiitals, 
while  others  are  renewed.  The  .sanctuary, 
connected  by  open  arches  with  the  flank- 
ing chapels,  forms  a  choir  raised  above  the 
transept,  and  against  its  northern  pier  is 
the  king's  throne,  as  at  Cefalu  ;  the  cross- 


ing and  transept  arms  arc  raised  some 
steps  above  the  nave  for  the  use  of  the 
monks.  The  windows  of  aisles  and  clere- 
story are  single  and  jjointed,  as  are  the 
openings  everywhere.  Tiie  open-trussed 
roofs  are  richly  painted  and  gilded  ;  above 
the  marble  dado,  which  reaches  to  the 
height  of  the  columns,  the  walls  and 
ajises,  almost  bare  of  mouldings,  and  even 
the  stilt-blocks  of  the  columns,  are  in- 
crusted  with  mosaic  on  a  gold  ground 
— pictures  of  saints  and  angels,  subjects 
from  scripture  history,  and  ornamental 
designs.  The  choir-screens,  altars,  and 
pulpit  are  rich  with  perforated  marble 
and  geometric  mosaic.  The  cloister  is 
surrounded  by  an  open  arcade  of  pointed 
arches  resting  on  couples  of  slender  col- 
umns, which  are  grouped  in  fours  at  the 
corners.  The  shafts  are  enriched  with 
carving  and  mosaic  ;  the  capitals  are  end- 
lessly varied,  and  though  probably  all  con- 
temporary, are  Byzantine,  Arabic,  or  Xor- 
man  in  style,  according,  it  would  seem,  to 
tlie  men  who  worked  on  them. 
The  broad  archi volts,  whose 
mouldings  curiously  overhang 
the  capitals,  are  banded  with 
mosaic.  At  one  corner  is  inset 
a  small  j)avilion  with  a  basin 
for  ablutions.  The  tradition, 
not  well  supported,  is  that  Will- 
iam, when  hunting,  fell  asleep 
on  this  spot,  and  was  directed 
by  the  Virgin  in  a  dream  to 
build  a  church  and  convent 
here  where  one  had  been  before 
in  the  time  of  Gregory  the 
(ireat.  Of  tlie  Benedictine 
monastery  which  he  built,  all 
the  buildings  except  the  clois- 
ter are  renewed  and  without 
interest.  The  church  remained  compar- 
atively unaltered,  except  by  dilapidation, 
till  a  fire  in  1811  unroofed  and  dam- 
aged the  choir.  Since  then  it  has  been 
restored  with  much  care  and  at  great  ex- 
pense.    The  handsome  bronze  doors  of  the 


a.'jo 


MOXTE 


north  ami  west  entriinces  of  the  rhureli 
remain,  signed  and  dated  by  their  makers 
respectively  :  Bonannus  of  Pisa,  llSd,  and 
Barisanus  of  Trani,  11  lit.  (Sec  Fi(/.  IJO.) 
MONTP]  L'ABATE,  Italy. 

This  MoxASTEHY,  several  miles  from 
Perugia,  belonged  to  the  (.'istereian  order. 
It  was  erected  early  in  the  xiii  cent.,  and 
was  partly  remodelled  iu  the  xiv  century. 
The  church  is  of  a  type  until  then  almost 
unknown  in  Italv.  and  was  one  of  the 
models  from  which  the  Franciscans  and 
Dominicans  copied  their  one-aisled  vaulted 
cJiurches  later  in  the  xiii  century.  It 
consists  of  one  broad  nave  110  ft.  long 
by  nearly  60  ft.  wide,  divided  into  three 
oblong  bays  with  lofty  ribbed  cross-vaults 
supported  on  engaged  five-sided  pilasters. 
The  wall-ribs  and  transverse  ribs  are 
pointed.  The  proportions  are  colossal, 
the  low  vaults  starting  at  an  unusual 
height.  The  fa9ade  is  a  i)lain  square- 
topped  screen,  and  is  decorated  with  but 
one  trefoiled  pointed  doorway  and  a  wheel 
window,  both  posterior  additions  made  in 
132.5.  To  the  same  period  belongs  the 
pentagonal  apse.  Beneath  the  whole 
church  is  a  fine  crypt,  divided  across  into 
two  sections,  both  covered  with  cross- 
vaults  :  the  smaller  section,  next  to  the 
apse,  divided  into  four  aisles  by  columns 
and  covered  by  twelve  groined  vaults,  ap- 
pears to  be  earlier  than  the  church.  The 
larger  section  of  the  crypt,  78  ft.  long, 
is  divided  into,  two  aisles  by  an  immense 
pier.  Its  four  compartments  are  covered 
with  fine  low  ribbed  cross-vaults,  and  are 
separated  by  magnificent  low  transverse 
arches.  A  square  tower  rises  at  the  right 
corner  of  the  fac/ade  ;  its  upper  story  is  re- 
stored. In  the  monastery  the  most  impor- 
tant work  is  the  cloister,  78  ft.  square, 
which  was  built  between  about  1320  and 
1297.  Its  two  stories  are  preserved,  which 
is  rare.  Each  side  consists  of  a  series  of 
low  pointed  arches  iu  groups  of  three,  rest- 
ing on  single  shafts  with  undecorated 
capitals,  which  alternate  with  five  square 


2)iers.  This  arrangement  is  repeated  on 
the  second  story.  The  material  is  stone. 
Although  extremely  simple,  this  cloister  is 
eminently  picturesque  and  one  of  the  most 
effective  in  Italy.  The  style  of  this  mon- 
astery is  an  Italian  adaptation  of  transi- 
tional Gothic,  and  is  not  in  the  line  of 
Cistercian  development  rejjresented  by 
Fossanova  (y.  /•.)  and  its  kindred  monas- 
teries. It  has  been  generally  supposed 
that  the  type  of  the  single-aisled  church 
was  introduced  by  the  mendicant  orders, 
but  in  this,  as  in  other  architectural  mat- 
ters, they  appear  to  have  copied  from  Cis- 
tercian models  of  superior  excellence,  for 
the  interior  of  Monte  I'Abate  is  finer  than 
any  of  their  work.  [A.  L.  F. ,  Jr.  J 
MONTECASSINO,  Italy. 

This  famous  Monastery  was  founded 
as  early  as  528  by  St.  Benedict  himself, 
destroyed  by  the  Lombards  in  590,  rebuilt 
in  706,  and  grew  gradually  in  size  and 
importance,  until  it  included  several 
churches,  with  cloisters,  dormitories,  re- 
fectories, and  other  accessories,  most  of 
which  have  been  several  times  rebuilt  or 
have  disappeared.  The  little  Church  of 
the  Crucifix  (II  Crocefisso)  still  remains  of 
the  original  construction ;  cruciform  in 
plan,  the  four  arms  covered  by  barrel- 
vaults  which  abut  against  the  dome  that 
covers  the  crossing.  A  century  or  two 
later,  perhaps  near  the  end  of  the  viii 
cent.,  the  small  church  S.  Maria  delle 
Cinque  Torre  was  built,  a  square  of  about 
57  ft.,  with  an  inner  scpiare  of  26  ft., 
surrounded  by  twelve  fluted  grauito  and 
marble  columns  with  Corinthian  capitals 
bearing  round  arches,  three  on  each  side. 
From  the  corners  of  the  inner  square, 
transverse  arches  sjiring  to  the  outer  wall. 
The  four  corner  squares  thus  formed,  as 
well  as  the  central  square,  are  carried  up 
as  low  towers,  the  central  one  being  the 
highest.  Three  semicircular  apses  open 
from  one  side  of  the  outer  square.  All 
ceilings  are  of  wood,  and  portions  of  them 
are  painted  by  Luca  Giordano.     The  walls 


.MON'I'EFIASCONE 


also  retain  traces  of  ])aintincrs  of  tlie  xiv 
century.  The  exterior  wall  is  divided  by 
blind  arcades,  with  seven  arches  on  each 
side,  and  an  arched  corbel -table  at  tlie 
cornice.  The  towers  have  a  single  round- 
arched  window  in  each  face. 

S.  Salvatoi{E,  the  great  church,  was 
built  originally  by  Gisulf  in  797,  but  it  is 
improbable  that  much  of  its  original  con- 
struction survives  in  the  jiresent  building, 
which  dates  only  from  about  KiiO,  and 
was  finished  in  1727.  It  is  a  Eenaissauce 
church,  in  plan  a  Latin  cross,  with  a  dome 
at  the  crossing,  a  barrel-vaulted  nave,  and 
groined  aisles.  Over  the  main  arcades  is  a 
great  order  of  Corinthian  pilasters  on  jjed- 
estals.  The  vault  of  the  nave  is  pierced 
with  lunettes,  and  the  whole  interior  dec- 
oration is  of  extreme  magniticcnce  in  the 
richness  and  variety  of  its  marbles.  A 
noble  courtyard,  with  open  arcades  and  a 
central  fountain,  is  attriinited  to  Bramante. 
MONTEFIASCONE.  Italy. 

S.  Flaviaxo,  a  singular  church,  found- 
ed early  in  the  xr  cent,  and  partially  re- 
built ill  1202-G.5  by  Pope  Urban  IV.  Its 
position  on  a  sharply  sloping  hillside  led 
to  the  construction  of  an  upper  and  a 
lower  chixrch,  the  one  entered  from  the 
east  end,  and  the  other  from  the  west. 
The  plan  is  a  simi)le  rectangle,  divided  by 
two  rows  of  piers  and  columns  of  various 
forms  and  sizes  into  a  nave  and  aisles  of 
nearly  equal  width.  In  the  lower  church, 
which  has  much  the  elfect  of  a  cryjjt,  the 
piers  are  low,  with  capitals  of  varying  de- 
sign, some  grotesque,  supporting  arches 
of  various  heights,  some  pointed,  others 
round,  the  bays  being  covered  by  a  low 
groined  vaulting.  The  east  end  of  the 
lower  church  makes  three  sides  of  an  octa- 
gon, in  each  of  which  is  a  great  semicircu- 
lar niche.  The  vaulting  of  two  bays  of 
the  nave  is  omitted,  making  a  rectangular 
opening  into  the  uj)per  church,  where  nave 
and  aisles  are  divided  by  small  columns, 
four  on  eacli  side,  with  ojienings  increas- 
ing in  breadth  and  height  from  end  to  end. 


The  arcades  support  a  blank  wall  rising  to 
the  low  wooden  roof,  which  covers  nave 
and  aisles  in  a  single  slope.  The  fa(;ade  is 
of  peculiar  design,  having  a  slightly  pro- 
jecting porch  over  its  whole  breadth, 
with  three  deep  pointed-arched  recesses 
divided  by  stout  columns,  the  middle 
arch  enclosing  a  doorway.  Above  the 
porch  is  a  low  covered  balcony  also  ex- 
tending quite  across  the  front,  and  a  flat 
gable  covering  all. 
MONTEPULCTANO,  Italy. 

The  Cathedral  is  a  cruciform  Renais- 
sance church,  of  which  the  original  de- 
sign is  attributed  to  Bartolommeo  Am- 
manati,  begun  in  l.")7(>.  tinished  in  lOSO, 
anil  consecrated  in  lUC.  Its  extreme 
length  is  210  ft.,  its  breadth  about  12.5  ft. 
Its  nave  is  covered  by  a  plain  barrel-vault, 
and  is  divided  from  the  groined  aisles  by 
an  arcade  of  five  round  arches  on  each 
side,  springing  from  square  piers  faced  by 
simi)le  Doric  pilasters  carrying  an  entab- 
lature. Xave  and  aisles  open  by  round 
arclics  into  a  transept  with  a  single  groined 
Ijay  on  each  arm,  terminating  in  a  rectan- 
gular cliapel.  From  the  crossing,  which  is 
covered  by  a  hemispherical  dome,  opens 
the  choir,  a  single  rectangular  bay  with 
rouiul  apse,  flanked  on  each  side  by  a  rect- 
angular chapel.  Similar  chajiels  open 
from  the  aisles  on  each  side.  The  front 
remains  unfinished  ;  it  has  a  square  cam- 
jtanile  at  the  northern  angle,  dating  from 
the  middle  of  the  XV  century. 

Madoxxa  di  S.  Biagio,  a  small  but 
noteworthy  Renaissance  church  begun 
from  the  designs  of  Antonio  di  San  (Jallo 
in  1.")1S.  Its  plan  is  a  Greek  cross  about  115 
ft.  in  ea(!h  direction,  with  a  dome  at  the 
centre,  raised  on  a  high  drum  with  Ionic 
pilasters  and  broken  entablature,  and 
round-headed  windows  and  niches  in  the 
intervals.  The  fa<^ade  and  transe])t  ends 
are  much  alike ;  in  two  stages,  with  flat 
pilasters  at  the  angles,  a  full  Doric  en- 
tablature over  the  first  story,  a  simjilc  fi-ieze 
ami  cornice  over  the  second,  finishing  with 


MONTE 


a  pwliiiR'iit  ;  an  entrance  iloor  in  the  mid- 
dle of  tlie  first  story,  a  single  window  over 
it,  both  with  eutablatnro  and  pediment. 
The  second  story  wall  is  divided  into  ver- 
tieal  panels.  A  square  detached  tower 
stands  in  the  N.  W.  angle  of  the  cross, 
with  three  stories  of  engaged  pilasters  and 
columns  and  an  octagonal  lielfiy- stage 
surmounted  by  a  low  spire.  The  interior 
is  without  aisles  ;  massive  augle-pilasters 


Fig   121. — Montepulciano,  Madonna  di   S.  Biagio. 
Scale  of   100  feet. 

with  a  heavy  Doric  entablature,  support  a 
barrel-vault  richly  panelled  and  decoi-ated. 
East  of  the  choir  is  an  apse,  round  with- 
out, but  containing  a  rectangular  sacristy 
with  niches  in  the  ends,  shut  off  by  a  wall 
behind  the  high  altar.  The  interior  of 
the  drum  is  faced  with  a  Corinthian  order. 
{Spf  Fir/.  121.) 
MOXTE   SAXT' AN(;EL(I,  Italy. 

The  Baptistery,  dedicated  to  S.  Pictro, 
is  a  square,  tower-like  building,  of  uncer- 
taiii  but  very  early  date.  The  interior  is 
especially  interesting,  its  angles  occupied 
by  grouped  shafts  bearing  pointed  wall- 
arches,  in  one  of  which  is  the  entrance, 
and  under  another,  opposite,  a  semicircu- 
lar apse  with  pointed  half-dome.  Over 
the  arches  is  a  vaulted  gallery  in  the  thick- 
ness of  the  w'all,  with  three  small  round 
arches  on  each  side,  springing  from  broad 
piers  faced  with  half  columns,  aiul  with 
sc£uiuches  in  the  angles  under  the  corners 


of  the  liigh  dome,  which  is  in  jjlan  a  square 
with  rounded  angles.  The  dome  above 
the  arcaded  gallery  is  divided  by  striug- 
conrses  into  three  stages,  of  which  the 
first  two  are  conical,  and  the  uj)perniost  is 
a  pointed  dome  built  in  horizontal  courses, 
its  apex  about  70  ft.  above  the  floor,  the 
effect  of  the  whole  being  that  of  a  high 
semi-ellii)se.  In  the  lowest  stage  are  three 
small  two-light  windows  in  each  side,  with 
mid-wall  shafts.  The  sculpture  is  inter- 
esting throughout. 

S.  MiC'HELE,  the  Church  of  the  Arch- 
angel Michael,  is  a  subterranean  Gothic 
chapel  of  the  xiii  cent.,  attached  to  the 
sacred  cavern  where  the  saint  is  said  to 
have  appeared  in  491,  in  a  vision,  to  St. 
Laurence,  Archbishop  of  Sipontum,  and 
is  a  famous  place  of  pilgrimage.  From  a 
little  square  of  the  town  a  pointed-arched 
doorway  of  marble,  flanked  by  two  col- 
umns on  each  side,  gives  access  to  a  de- 
scending staircase  of  fifty-five  steps,  exca- 
vated in  the  rock,  covered  by  a  vaulted 
ceiling  lighted  by  several  of)euiugs  in  the 
rock  above,  and  flanked  by  niches  with 
monuments.  At  the  bottom  is  an  open 
court,  on  the  east  side  of  which  is  the  en- 
trance to  the  church — a  round  arch  flanked 
by  two  piilasters  and  two  columns  on  either 
side — the  oi^ening  closed  by  fine  bronze 
doors,  cast  iu  Constantinople  in  10T6. 
The  chiirch  is  rectangular  in  plan,  without 
aisles,  covered  by  fine  Gothic  four-part 
vaulting  with  strong  transverse  and  diag- 
onal ribs  springing,  on  the  south  side  from 
triple  grouped  vaulting  shafts  which  rest 
at  mid-height  on  the  solid  rock,  which  here 
forms  the  wall  of  the  church,  and  on  the 
north  side  from  single  shafts.  On  the 
south  wall  opens  the  cavern,  roofed  by  the 
natural  rock  at  varying  heights,  rising  in 
the  middle  to  about  17  ft.,  with  an  aver- 
age breadth  of  50  ft.,  and  a  length  of  57 
ft.  to  60  ft.  It  contains  the  ancient  altar 
to  St.  Michael,  and  six  modern  altars  con- 
secrated in  1078.  On  the  north  side  of 
the  church  arc  two  chapels,   opening  by 


233 


MdNZA 


low  urcliL's,  of  which  ono  servos  :is  choir. 
On  the  east  end  is  a  square  vaulted  chapel, 
opening  by  a  higli  pointed  arcii,  and  con- 
taining the  higii  altar,  backed  by  a  rich 
Renaissance  screen.  There  is  a  fine  early 
bishoi)'s  cliair,  of  marble,  resting  on  two 
crouching  lions,  and  covered  with  beauti- 
ful decoration  in  mosaic  and  ])as-relief. 
MONZA,  Italy. 

The  BiiOLETTO  (Town-hall),  a  small  but 
interesting  example  of  the  medieval  mu- 
nieiiial  buildings  of  North  Italy.  It  is  a 
detached  brick  building,  measuring  about 
42  ft.  by  64-  ft.,  its  first  story  open  to  the 
street,  and  consisting  of  high  pointed 
arches  of  brick  springing  from  plain 
square  stone  piers,  without  cajis  or  impost 
moulding.  A  cross  arcade  through  the 
middle  of  the  building  bears  the  floor 
of  the  second  story,  which  is  occupied  by 
the  public  hall.  The  ends  arc  gabled, 
the  angles  reinforced  by  slightly  project- 
ing ]iiers.  In  the  centre  of  the  south  front 
is  the  riiHjJiicrn  or  balcony,  from  which 
the  people  were  addressed  by  the  magis- 
trates. On  either  side  the  balcony,  and 
above  it,  is  a  three-light  window  with 
round-headed  oijenings  divided  by  columns 
and  a  strong,  round  bearing-arch  with 
brick  and  stone  voussoirs.  The  north  end 
is  half  occupied  by  a  square  bell-tower, 
divided  vertically  by  flat  pilaster-strips, 
and  horizontally  by  string-courses  with  in- 
tersecting brick  arches  beneath,  and  with 
a  belfry  having  two  simple  jjointed  open- 
ings in  each  face,  the  whole  crowned  with 
forked  battlements  and  a  low  octagonal 
spire.  The  Ijuilding  probably  dates  from 
the  end  of  the  xii  century. 

The  C.VTHEDKAL,  an  interesting  xiv 
cent.  Gothic  church,  witli  nave,  double 
aisles,  of  which  the  two  outer  are  divided 
into  chapels,  transept,  and  apsidal  choir, 
and  measuring  roughly  about  225  ft.  in 
length  and  90  ft.  in  breadth.  Its  facade 
is  of  ijeculiar  design,  built  of  a  yellowish 
marble,  with  alternate  courses  of  dark 
gray,     fcjquare  buttresses,  rising  from  the 


ground  and  termiinitingin  pinnacles,  divide 
the  front  into  five  compartments  answering 
to  the  nave  and  aisles.  The  roof  gable, 
slightly  broken  at  each  division,  has  a  blank 
arcade  of  columns  carried  on  corbels  fol- 
lowing the  slope.  The  original  pinnacles 
have  disajjpeared  excepting  one  at  the 
south  angle  of  the  front,  which  is  ex- 
tremely graceful,  with  a  canopy  of  four 
cusped  Gothic  arches  on  columns,  and  a 
sitting  statue  within,  surmounted  by  dec- 
orated gables  on  the  four  sides  and  a 
crocketed  sjiire.  The  central  division  of 
the  front  has  a  slightly  projecting  porch, 
round  arched,  with  splayed  columnar  jambs, 
a  tympanum  bearing  reliefs,  roundels  in 
the  sjiandrels  with  figures,  and  a  horizon- 
tal cornice.  Above  the  porch  is  a  rose 
window  of  thin  tracery,  sot  in  a  square 
panel  with  trefoils  at  the  angles,  and  en- 
closed by  a  border  of  small  square  panels 
with  rosettes.  This  enrichment  of  square 
panels  is  continued  by  four  additional  rows 
above  the  window,  and  crowned  by  a  line 
of  small  cusjied  rouiul-arehed  niches  con- 
taining statues.  The  side  divisions  are 
occupied  by  windows  of  various  forms, 
jwinted,  round-headed,  and  circular,  of 
which  tlic  larger  are  divided  by  columnar 
nndlions  into  two  and  three  lights,  with 
traceried  heads.  The  remainder  of  the 
churcli  is  of  brick.  There  is  an  octago- 
nal lantern  over  the  crossing  with  two 
stories  of  arcades,  and  a  pyramidal  tiled 
roof.  The  interior  has  been  entirely  mod- 
ernized. It  contains  many  relics  of  the 
old  Lomljard  kings — among  others  the 
iron  cu'own  with  which  a  line  of  thirty-four 
of  those  monarchs  were  crowned,  and 
which  was  also  used  at  the  coronation  of 
the  Emi)eror  Charles  V.,  and  of  Napoleon. 
The  first  church  on  this  site  is  said  to 
have  been  finished  in  595  ;  a  new  apse  was 
added  in  the  ix  century.  The  church  was 
enlarged,  and  probably  substantially  re- 
built after  1311.  An  inscription  on  the 
east  end  gives  a  date  of  1390.  The  architect 
was  Marco  di  Campione,  or  JIatteo  C'am- 


aj4 


MOSCUFO 


pigliano.  The  square  brick  eanipanile, 
no  ft.  liigli,  wliich  stands  at  the  north 
angle  of  the  front,  is  of  hiter  but  uncertain 
date. 

Sta.    Maiua    IX    Strada,    a    Gothic 
cliurcli  dating  from  the  middle  of  the  xiv 
cent. ,  of  which  the  interior  has  been  dese- 
crated, and  the  only  interesting 
part  is  its  west  front,  a  very  elab- 
orate examjtle  of  terra-cotta  dec- 
oration lately  restored.     It  is  a 
high  brick  facade  of  simple  out- 
line, with  square  angle  buttresses 
and  a  low  gable.     The  lower  story 
is   very  plain,    with    a    square- 
headed  door  whose  arch  is  en- 
closed in  a  square  panel  with  a 
geometrical  decorated  border.    A 
range    of    cusped,    gabled,    and 
pinnacled    arches   crosses    the 
front   just   above   the  doorway. 
Almve  these  is  a  beautifully  dec- 
orated rose  window  flanked   on 
each  side  by  a  two-light,  jiointed 
and  cusped  window  with  bearing- 
arch.     All  three  are  enclosed  in 
squares  bordered  by  rosettes  in 
square  panels.     In  the  low  gable 
is   a   central   niche   enclosing   a 
statue  of  the  Virgin  and  Hanked 
by  two  round  openings,  and  over 
it  a  very  rich  cornice  of  inter-      ' 
lacing  arches.     At  the  south  an- 
gle of  the  fa(;ade  is  a  square  tower 
with  a  belfry  stage,  with  large  pointed  two- 
light  windows,  traceried  frieze,  and  a  dwarf 
sph"e   among  four   pinnacles.     (,SVy'   Fit/. 
122.) 
JIOSCUFO,  near  Chieti,  Italy. 

Sta.  Makia  in  Lago,  a  small  early  ba- 
silica belonging  to  a  monastery  estab- 
lished in  the  vii  cent.,  but  much  changeil 
by  repeated  restorations,  the  last  of  which 
was  made  in  1733.  It  is  rectangular  in 
])lan,  about  85  ft.  long  and  36  ft.  broad, 
with  flat-ceiled  nave  and  aisles  separated 
by  six  round  arches  on  each  side  on  col- 
umns, the  middle  one  of  which  has  a  pair 


of  columns  built  up  into  a  jiier.  The 
luive  and  ai.sles  each  enil  in  an  apse,  and 
their  three  eastern  bays,  considerably 
broader  than  the  others,  make  a  raised 
choir.  The  exterior  is  modern,  but  the 
front  retains  portions  of  the  ancient  door- 
way.    The  church  contains  a  fine  pulpit 


Fig.  122.  — Monza,  S    M.  m   Stiada. 

dating  from  1159,  standing  on  stout  col- 
umns which  support  round  cusped  arches. 
The  four  faces  of  the  pulpit  and  the  span- 
drels of  the  arches  are  covered  with  figure 
sculpture,  the  book  rests  supported  by 
angels,  the  staircase  ajiproaching  the  f)ul- 
jjit  is  of  similar  character.  The  sculpture 
is  heightened  with  color. 
MONTE  8AX  GIULIAXO  (anc.  Eryx), 
Sicily. 
Carthagixian  Ra.mpart.s,  not  older 
than  the  iv  century  B.C.  On  the  north- 
western side  of  the  modern  town  the  lower 
jjortions  of  the  ancient  wall  survive  for  a 


MOUXT 


lengtli  of  two-tliirds  of  a  iiiilc.  'I'lie 
blocks,  some  of  tliem  0  ft.  long,  bear  I'lui'- 
uiciau  letters  as  masons'  marks.  The  wall 
is  about  8  ft.  thick,  and  is  strengthened 
with  rectangular  towers  of  great  projec- 
tion. .Several  small  jiosterus  of  the  Plue- 
uiciau  work  remain,  some  covered  with  a 
lintel,  and  some  by  corbelling  out  the  side 
stones  in  a  pseudo-arch.  The  masonry, 
wiiile  not  careless,  has  not  the  Hellenic 
evenness  and  beauty  of  execution. 
MOUNT  C'lIICKI.  See  JVeandrcia. 
MOUXT  IIKIiMOX  (.Tebel  es- Sheikh). 
Palestine. 

Temple  of  Baal-Uermox  (?).  on  the 
central  or  second  highest  summit  of  the 
mountain.  The  jieribolos  is  oval,  built  of 
large,  well-hewn  blocks,  the  lowest  course 
of  which  rests  on  a  smoothed  bed  cut  in 
the  rock.  On  the  south  side  of  the  jjeri- 
bolos  are  the  remains  of  a  small  temple, 
in  part  of  masonry  with  margin -draft. 
Toward  the  X.  E.  there  is  a  large  grotto, 
before  the  mouth  of  wJiich  stood  two  pil- 
lars. A  Greek  inscription  has  been  found 
within  the  peribolos. 
MOUXT  OCIIA,  Eubcea,  Greece. 

Temple  of  Hera  Teleia,  or  of  Zeus 
and  Hera,  called  House  of  the  Dragon  by 
the  peasants,  considered  the  most  ancient 
Greek  building  extant.  It  is  constructed 
of  enormous  blocks  and  slabs  of  stone. 
The  roof  is  corbelled  in,  the  inner  surface 
being  cut  to  a  smooth  slope.  An  opening 
twenty  inches  square  is  left  in  the  middle. 
The  dimensions  of  the  temple  are  41  ft.  S 
in.  by  25  ft.  ,'J  in.  without,  and  3'2  ft.  4  in. 
by  16  ft.  3  in.  within.  The  height  of  the 
walls  within  is  7  ft.  '.)  in.  In  the  south 
long  wall  is  a  doorway  4  ft.  by  6  ft.  10  in. 
A  bracket  projects  from  the  interior  west 
wall,  doubtless  for  the  image  of  tlie  divin- 
ity. 
]\IOUXT  PTOOX,  Boeotia,  Greece. 

Acropolis.  The  ruins  date  from  vai'i- 
ous  epochs,  and  arc  in  part,  especially  nn 
the  west  side,  in  excellent  preservation. 
On  this  side,  the  wall  is  still  about  10  ft. 


liigii  and  8  ft.  thick.  There  is  an  attempt 
to  attain  horizontal  courses — though  these 
are  interrupted  by  larger  lilocks.  In  one 
place  a  little  door  in  the  wall  less  than 
4  ft.  square  remains  ;  aiul  there  are  several 
sally-ports  through  which  the  defeiulers 
could  make  a  sudden  attack  upon  be- 
siegers. There  are  some  remains  of  lesser 
constructions  ;  and  lines  of  more  ancient 
jiolygonal  walls  can  be  traced,  k'ading  in 
the  direction  of  Lake  Copai's. 

The  Temple  of  Apollo  Ptoos  stood 
u  1)011  a  terrace  of  stone  on  the  side  of  a 
steei)  slope.  A  flight  of  steps  led  from 
the  bottom  to  the  top  of  the  terrace.  It 
was  Doric,  70  ft.  5  in.  by  38  ft.  9  in. 
The  visible  jiortions  of  the  foundations 
are  in  Poros  ;  those  that  were  concealed, 
in  the  stone  of  the  locality.  Some  capi- 
tals, fragments  of  the  entablature,  drums 
of  columns,  aiitefixes  in  terra  cotta,  and 
tiles  survive,  with  traces  of  decoration  in 
coliir.  The  cafiitals  and  sliafts  were  coated 
with  a  white  stucco.  A  highly  interesting 
and  important  series  of  archaic  sculptures 
was  found  on  the  site.  The  oracle  en- 
joyed high  repute  up  to  the  time  of  the 
Macedonian  invasion. 

MOUXT  TABOR  (Jebel  et-Tur).   Pales- 
tine. 

FuRTiFicATioxs,  of  great  extent,  on  the 
summit  of  the  mountain.  The  walls  are 
of  large  stones,  with  margin-draft,  and 
prescu've  remains  of  towers  and  bastions. 
They  are  further  strengthened  by  great 
ditches,  cut  in  the  rock.  Toward  the  S. 
E.  are  ruins  of  a  citadel.  The  remains  are 
uiidoul)tedly  those  of  the  fortifications 
built  by  Joscphus  in  the  first  cent.  A. I)., 
who  himself  utilized  more  ancient  works. 
Tlie  crusaders  in  turn  restored  the  fortress, 
and  left  abundant  marks  of  their  occupa- 
tion, as  the  pointed  gateway  and  the  loop- 
holes in  tlie  citadel,  and  several  chapels 
wilhin  the  enclosure. 
MIMKLIA,  Syria. 

One  of  the  deserted  towms  of  northern 
Syria,    with    its    stone   houses   and    other 


.MUIJANO 


liuildiiiu's  well  2)re.scrvc(l.  'V\\v  l)asilk"i  is 
111  it  I' worthy  for  having  tlii'  ardios  of  its 
luaiii  arcados  cut  out  of  two  horizontal 
courses  of  stone,  instead  of  built  up  of 
voussoirs  in  the  usual  fashion.  TIktc  is 
also  a  small  semi-octagonal  church  which 
has  similar  arcades,  and  resembles  in  other 
resf)ects  a  Roman  theatre,  hiiving  tlie  cen- 
tral space  open  to  the  sky,  and  the  apse 
and  two  adjoining  chambers  uiuler  roof  in 
an  oblong  trausyerse  building  like  a  stage. 
MURANO,  Italy. 

Cathedral  (S.  Donato),  a  church  of 
much  interest,  built  jjerhaps  in  the  x 
cent.,  although  no  authentic  record  of  its 
building  is  known  to  exist.  It  has  been  of 
late  years  so  thoroughly  restored  by  the 
Italian  Government  that  little  remains  of 
the  original  church  save  the  general  dis- 
position and  the  east  end.  Its  plan  is 
ci'uciform,  with  nave  and  aisles,  transe])t 
not  iH'ojecting,  and  choir  and  a  single 
eastern  apse.  The  nave  arches  rest  on 
columns  of  white  and  gray  cipollino 
marble  with  Corinthian  capitals,  doubt- 
less taken  from  some  older  building.  The 
walls  are  lined  with  marble  in  the  lower 
portions,  and  decorated  above  with  mosaics 
and  frescoes.  The  apse  is  covered  with  a 
hemispherical  vault,  which  is  adorned  with 
fine  early  mosaics.  The  pavement  of  the 
church  is  of  marbles  of  various  colors, 
a  fine  example  of  opus  Alexun<lri)ium, 
and  bears  an  inscription  with  the  date 
of  1140.  The  most  notable  portion  of 
the  church  is  the  outside  of  its  east 
end.  The  great  central  apse  is  |)olygonal 
and  is  flanked  by  the  end  walls  of  the 
aisles  on  either  side,  finishing  with  half- 
gables.  Two  stoi'ies  of  stilted  round 
arches  are  carried  across  the  whole  end, 
with  coupled  columns  at  the  angles  of  the 
apse  and  in  the  second  story  of  the  aisles. 
The  columns  are  of  white  aiul  colored 
marble,  the  arches  are  of  brick  in  two 
colors,  red  in  the  lower  story  and  yellow 
in  the  upper.  The  arches  of  the  lower 
story  enclose  semicircular  vaulted  niches  ; 


in  the  upjji'r  story  the  wall  is  set  back  so 
as  to  form  an  open  gallery  protected  by  a 
delicate  balustrade  of  white  marble  be- 
tween the  columns.  Between  tlie  two 
stories  is  a  doubl(>  frieze  consisting  of  two 
lines  of  upright  triangles  or  chevrons,  the 
lower  of  white,  yellow,  red,  and  green 
marble  carved  in  various  designs ;  the 
upper  of  yellow  bricks  relieved  against 
the  wall  of  red  bricks.  The  lower  band 
of  triangles  is  carried  around  the  circular 
head  of  the  windows  in  the  aisle  ends  as 
an  archivolt.  The  harmony  of  colors  in 
this  remarkable  composition,  and  the  skill 
with  which  the  effect  of  richness  and 
elegance  is  gained  with  a  very  sparing  use 
of  any  but  the  commonest  materials,  make 
this  work  most  interesting.  A  high  square 
camjjanile  rises  from  the  soutli  wall  of  the 
church  with  tall  blind  arches  of  brick  in 
two  stories,  and  a  l)elfry  stage  with  three 
grouped  arches  in  each  face. 

Palazzo  wa  Mula,  nearly  the  only  re- 
maining examjjle  in  ^lurano  of  a  Gothic 
Venetian  palace,  and  interesting  from  its 
variety  of  ornamental  detail.  ,  It  is  of 
brick  in  three  stories,  of  which  the  lowest 
has  in  the  centre  a  round-arched  doorway 
flanked  by  two  .s(|uare  windows,  all  of 
which  have  evidently  undergone  consider- 
able alteration.  On  either  side  is  a  single 
ogee-arched  window  with  jjilasters  in  the 
jambs  and  a  thin  billet-moulding  following 
the  line  of  the  arch.  The  second  and 
principal  story  has  in  the  centre  a  fine  ar- 
cade of  four  cusped  ogee  openings,  with  a 
projecting  balcony.  The  arches  rest  on 
large  columns  with  cajiitals  showing  more 
of  the  classic  feeling  than  is  usual  in  the 
Venetian  palaces  of  this  tyjie.  Above  the 
central  column  is  a  niche  with  a  cusped 
ogee  arch  resting  on  square  jiilasters,  en- 
closing a  statue  and  flanked  by  sleiuler 
columns  which  rest  on  the  tinials  of  the 
two  middle  arches,  and  of  which  the  capi- 
tals are  of  a  jironounced  Byzantine  type. 
On  each  side  of  the  arcade  is  a  large  aiul 
high  window  enclosed  in  a  square  panel 


237 


MUSMIYEH 


witli  graceful  tracery  in  the  head,  and  a 
balcony  with  square  pilasters  for  balusters. 
Tlie  wall  piers  of  tiie  story  are  decorated 
with  roundels  containing  tracery  of  various 
forms,  with  upright  jianels  containing  bas- 
reliefs  and  witli  inlaitl  patterns  of  colored 
marbles.  The  third  story  is  low,  with 
Sfpiarc  modern  windows  and  decorative 
panels  set  in  the  wall. 
JIUS.MIVKII,  near  Damascus,  Syria. 

The  so-called  Temple,  which  was  con- 
verted into  an  early  Christian  church,  an<l 
has  also  been  called  by  M.  de  Vogiie  the 
Pretorium,  bears  inscriptions  which  in- 
dicate that  it  was  built  between  liiO  and 
170  A.D.  under  Marcus  Aurelius  and 
Verus.  It  is  a  small  building,  only  about 
50  ft.  by  70  ft.,  but  interesting  for  its 
elegance,  and  because  it  is  perhaps  tlie 
oldest  example  of  the  typical  plan  of  the 
smaller  Byzantine  churches.  It  had  a 
portico  of  six  Corinthian  columns,  leading 
by  three  doors  into  a  sipiarL'  area,  beyond 


Mycena;.  Lion   Gate 


which  are  the  central  apse  and  two  flank- 
ing chambers  that  belong  to  the  Greek 
cluirches.  The  square  area  is  marked  olT 
by  cross-arches  into  a  Greek  cross,  in  the 


usual  way.  The  spaces  between  the  arms 
of  the  cross  are  flat  ceiled  with  stone  slabs, 
the  arms  barrel-vaulted  witJi  tlie  same 
material ;  the  central  l)ay  was  apparently 
covered  by  a  cloistered  dome  of  rubble. 
Tiie  arches  are  carried  by  sixteen  Corin- 
thian columns,  bearing  on  impost  blocks 
that  rest  directly  on  the  capitals  ;  if  this 
is  the  origiuiil  arrangement,  it  is  the  oldest 
example  of  a  construction  that  gave  the 
type  to  mediajval  architecture. 
MVCEN.E,  Argolis,  Greece. 

Liox  (Jatk.  liuins  of  jirimitive  and 
ancient  Hellenic  civilization  are  distrib- 
uted between  the  acropolis,  the  lower  city, 
and  the  surrounding  country.  They  a])- 
])car  to  have  been  very  niui-li  in  their  i)res- 
ent  state  since  the  destruction  of  buth 
Mycena3  and  Tiryns  by  Argos,  4(Jo  li.c. 
The  most  important  remains  are  those  of 
the  Acropolis.  The  walls  of  the  acropolis, 
which  form  a  rude  triangle,  roughly  l.diiit 
ft.  by  8(10  ft.  by  650  ft.,  are  massive,  built 
of  large  stones,  smaller  in  gen- 
eral, however,  than  those  at 
Tiryns,  some  undressed,  others 
]if)lygoiial,  or  squared.  At  the 
N.  AV.  angle  is  the  chief  entraiice, 
tlie  Gate  of  Lions.  This  is  ap- 
jiroached  by  a  strategic  ]iassage 
;;:!  ft.  wide  and  Till  ft.  long.  The 
gateway  is  loi  ft.  high,  10^  ft. 
wide  at  the  bottom,  and  9|  ft. 
wide  at  tlie  top.  The  lintel  which 
rests  upon  the  inclined  doorposts 
is  10^  ft.  long,  8  ft.  througli, 
and  more  than  .3  ft.  thick  in  the 
middle.  A  triangular  opening 
left  in  the  wall  nvcr  tlie  lintel  is 
tilled  liy  a  slab  10  ft.  high,  12  ft. 
wide  at  the  base,  and  2  ft.  thick, 
upon  the  exterior  face  of  which 
is  the  very  ancient  relief  whicli 
gives  the  gate  its  nanic.  rejire- 
senting  two  lions  or  lionesses  reared  on 
their  hiiul  legs  and  separated  by  a  jiillar 
of  i-uriiius  fiii'ni.  The  heads  are  gone; 
they   were   turned   toward    those  who  ap- 


MYLASSA 


proaclied.    ami    were    prol)al)Iy    of    metal. 
{See  Fig.  1-iS.) 

On  a  terrace  within  the  Lion  Gate  is 
a  double  circle  of  upright  shibs,  about 
80  ft.  in  diameter.  The  two  circles  were 
originally  joined  by  horizontal  shilw. 
Within  it  8chliemann  found  five  large 
graves  with  human  bones  and  the  remark- 
able gold  ornaments  of  rude  workmanship 
but  able  design  which  have  excited  active 
discussion,  together  witli  bronze  and  obsid- 
ian weai^ons,  and  pottery.  A  sixth  grave, 
with  similar  remains,  has  been  since  found 
witliin  tlie  circle.  In  the  X.  E.  part  of 
the  acropolis  remains  have  been  excavated 
of  a  palace  similar  to  that  at  Tiryns,  but 
of  simpler  plan,  though  more  advanced 
workmanship.  A  temple  was  later  Ijuilt 
over  the  site  of  the  palace.  Remains  of  rock- 
steps,  cisterns,  aqueducts,  dwellings,  etc.. 
are  abundant  on  the  acropolis,  in  the  lower 
town,  and  throughout  the  neighborhood. 

Treasury  of  Atreus,  or  Tomb  of  Aga- 
memnon. This  is  the  most  perfect  one  of 
a  considerable  number  of  circular  under- 
ground tombs  in  the  neighborhood  of 
Mycenfe,  with  pseudo- vaults  formed  of 
corbelling  cut  to  domical  shape.  The  ap- 
proach or  droinos  is  b'-  a  walled  ]>assage  30 
ft.  long.  The  entrance  is  1!)|  ft.  high,  8 
ft.  wide  at  the  top,  and  8i  ft.  wide  at  the 
base.  One  of  the  two  lintel -blocks  is 
about  30  ft.  long,  10  ft.  through,  and  3 
ft.  thick.  As  in  the  Lion  Gate,  a  tri- 
angular opening  was  left  above  to  relieve 
the  lintel ;  the  slab  whicli  formerly  filled 
this  is  gone.  The  interior,  of  beehive 
shape,  is  about  50  ft.  high  and  ."lO  ft.  in 
diameter.  The  wall  was  originally  orna- 
mented with  rosettes  of  metal  fastened  by 
bronze  nails.  A  doorway  about  9  ft.  high 
leads  to  a  small  square  chamber,  which 
was  the  tomb  proper. 

Note. — In  the  neighborhood  of  the  bee- 
hive tombs,  a  number  of  square  rock- 
tombs  with  ceilings  cut  to  a  ridged  form 
have  been  excavated.  These  are  later 
than   the  former ;    but   the   pottery   and 


other  objects  found  in  tlieni  Ijeloug  clear- 
ly to  the  same  civilization  whicli  i)roduced 
tiie  oldest  objects,  those  from  the  tombs 
witliin  the  ring  on  the  acropolis.  The  ob- 
jects found  at  Mycenst  are  now  seen  to  il- 
lustrate a  continuous  development,  from 
the  very  ancient  acropolis  tombs  and  the 
later  i^alace  to  the  time  of  the  rock-tombs. 
In  the  latter,  some  pottery  of  the  Dipylon 
style  was  found  with  the  earlier  objects, 
together  with  other  evidences  of  what  is 
known  as  the  Hellenic  civilization.  The 
so-called  Jlycenajan  jiottery  is  decorated 
especially  with  motives  derived  from  ma- 
rine animals  and  jilants,  together  with 
combinations  of  sjiirals  and  palmettes ; 
and  the  latter  motive,  together  with  more 
or  less  elaborate  rosettes  and  bosses,  is 
characteristic  in  wall-painting  and  sculjDt- 
ure,  and  njion  the  remarkably  abundant 
ornaments  and  utensils  of  gold  found  es- 
pecially in  the  earliest  graves.  The  inlay- 
ing of  some  bronze  swords  and  daggers  and 
some  silver  cups  with  animal  and  other 
designs,  in  different  metals  and  in  various- 
ly colored  gold,  is  of  remarkable  beauty, 
and  points  to  Egyjitian  prototypes.  The 
early  civilization  is  plainly  that  described 
in  Homer,  and  is  closely  akin  to  that  of 
the  second  city  at  Hissarlik,  though  later 
and  richer. 

MYLASSxV.     See  3Iclasm. 
MYRA,  Lycia,  Asia  Minor. 

TuEATRE,  among  the  largest  and  best 
built  in  Asia  Minor.  The  exterior  dia- 
meter is  360  ft.,  that  of  the  orchestra  120 
ft.  The  material  is  a  white  limestone,  al- 
most as  beautiful  as  marble.  The  stage- 
wall,  which  faces  the  south,  was  decorated 
with  polished  granite  columns  with  com- 
posite cajjitals  of  white  marble  ;  one  of 
these  columns  is  still  in  place,  the  others 
lie  as  they  have  fallen  before  the  wall  of 
the  proscenium.  The  cavca  had  two 
groups  of  seats,  twenty-seven  tiers  in  the 
lower,  and  twenty  in  the  upper.  All  the 
masonry  is  of  the  finest  construction,  laid 
without  mortar. 


239 


MV 


,KXK 


There  are  fine  reiiiaius  of  several  piihlic 
hitiltliiigs,  besides  tlie  theatre.  'I'lie  I'ock- 
neuropolis  is  of  much  interest  ;  tliu  tombs 
iiro  generally  large  and  formed  of  several 


Fig.  124— Naples,  Alfonso's  Arch 


iiitereommunieating  chambers,   and   tlieir 
exterior    decoration     includes    figure    re- 
liefs. 
MYTILENE.  Lesbos,  ^gean  Sea. 

Aquedi'ct  of  Roman  date,  built  of 
marble  where  above  ground,  with  evi- 
dences of  Byzantine  restorations  in  brick. 
The  ruins  of  the  raised  parts,  particularly 
of  the  bridges  of  Paspala  and  Moria,  are 
the  most  important  on  the  island.  The 
chief  bridge,  that  of  Moria,  is  -tOi  ft.  long, 
and  still  stands  to  the  height  of  So  ft.  It 
consisted  of  .seventeen  arclies,  of  which 
those  in  the  deep  middle  of  the  valley 
were  buttressed  by  two  intermediate  tiers 
of  arches.  The  total  length  of  the  aque- 
duct is  about  fifteen  miles,  and  it  is  esti- 
mated that  it  could  deliver  l^-ii'.OOO  cubic 
metres  of  water  in  twenty-four  hours. 

Theatkk.  The  cavea.  3.31  ft.  in  dia- 
meter, was  in  great  ])art  excavated  from 
the  hillside  above  the  town,  but  toward 
the  front  supported  on  aititicial  substruc- 
tions. It  was  surrounded  at  the  back  by 
a  boundary-wall  of  marble  and  had  a 
diazoma.  to  which  there  was  an  entrance 
at  each  side  by  a  passage  beneath  the 
scats.  The  seats  were  of  marble,  with  a 
tine  moulding  at  the  edge  and  much  hol- 
lowed in  front  :  they  were  well  jointed 
and  secured  together  by  ^-l  clamps.  An 
inscribed  thnme  in  the  court  of  the  chief 
church  ])roves  that  there  were  seats  of 
honor.  The  date  is  uncertain.  The 
cavea  is  in  a  ruinous  state,  and  there  is 
no  trace  of  a  stage-structure. 
NAPLES  (Xapoli),  Italy. 

Arch  of  Alfonso,  one  of  the  richest 
and  most  elaborate  of  the  commemorative 
inonuments  of  the  Renaissance.  It  was 
built  in  14T0,  to  celebrate  the  entry  of 
Alfonso  of  Aragon.  Its  architect  is  doubt- 
ful, but  it  has  been  assigned  both  to 
I'iefro  di  ^lartino.  of  Milan,  and  to  (iiu- 
liano  da  Maiaim.  id'  I'lnrcnce.  It  isljuilt  of 
white  marble,  and  (n-ciipies  the  whole 
height  of  the  wall  between  two  of  the 
massive    round    towers    of    the    C'astello 


■m 


FLORENCE -CATHEDRAL  AND  CAMPANILE 


NAPLES 


Niiovo.  It  is  in  four 
.stu<,'es,  through  throe  of 
wliich  rise  continued 
side  buttresses  flanking 
a  curtuin  wall.  The 
first  and  third  stories 
consist  each  of  an  order 
of  columns,  Corinthian 
in  the  first  story  and 
Composite  in  the  third, 
coupled  upon  the  but- 
tresses at  the  a  n  g  1  c  s 
with  decorated  entabla- 
tures, of  which  the 
friezes  are  charged  with 
inscriptions  and  bas- 
reliefs,  and  enclosing  in 
each  story  an  arch 
springing  from  deco- 
rated pilasters  and  with 
sculptured  figures  iu  the  spandrels.  Be- 
tween these  two  orders  is  an  intermediate 
stage  with  a  continuous  relief  represent- 
ing a  triumphal  jH'ocession,  and  above  tlie 
upper  order  a  high  attic  consisting  of  a 
range  of  four  decorated  semicircular 
niches  between  pilasters,  enclosing  statues 
of  the  cardinal  virtues.  A  segmental 
Ijediment  with  figures  iu  relief  and 
crowned  by  standing  statues,  terminates 
this  remarkably  elegant  and  original  com- 
position. The  sculptors  Isaia  da  Pisa  and 
Silvestro  dell'  Aquila  are  said  to  have 
worked  upon  it.     {Sec  Fly.  1-4-) 

The  Cathedral  of  St.  Januarius  or  S. 
Geunaro  consists  of  two  distinct  portions, 
of  wliich  the  older  cathedral,  called  the 
Basilica  of  Sta.  Restituta,  opening  from 
the  south  aisle  of  the  newer  cathedral  and 
at  right  angles  to  it,  is  reputed  to  have 
been  founded  by  Coustantine  and  to  oc- 
cupy the  site  of  a  Roman  temple  of  Apol- 
lo ;  but  the  oldest  parts  probably  belong 
to  the  church  of  the  vi  cent.,  rebuilt  in 
the  XII.  Its  plan  comprises  a  nave  which 
ends  in  a  flat  apse,  and  is  separated  from 
the  aisles  by  arcades  of  pointed  arches 
springing   from  six  Corinthian  columns. 


taken  from  Roman  temples.  The  aisles 
are  each  in  seven  groined  bays  flanked  by 
a  line  of  square  chapels.  The  ceiling  of 
the  nave  is  jiainted  by  Lnca  Giordano. 
The  old  baptistery,  now  the  Chapel  of  S. 
Giovanni  in  Fonte,  opens  from  the  end 
of  the  right  aisle,  and  is  remarkable  for 
the  number  of  early  mosaics  and  wall 
paintings  whicli  it  contains.  The  new 
cathedral,  begun  in  1278,  is  a  long  basilica 
with  a  nave  and  aisles  abutting  against  a 
great  transept,  and  separated  by  arcades  of 
pointed  arches  springing  from  grouped 
piers.  The  aisles  are  groined  in  square 
bays,  the  nave  covered  with  a  wooden 
ceiling.  The  arches  are  continued  by 
single  broader  arches  across  the  rectangu- 
lar transept,  from  the  centre  of  which 
oj)ens  a  polygonal  vaulted  aj^se.  The 
nave  ceiling  and  the  clerestory  wall  are 
covered  with  frescoes,  those  of  the  clere- 
story by  Luca  Giordano.  A  line  of  rectan- 
gular chapels  opens  from  each  aisle,  and 
from  the  middle  of  the  south  aisle  the 
large  and  richly  decorated  chapel  in  the 
form  of  a  Greek  cross,  built  in  the  first 
half  of  the  xvii  cent.,  and  dedicated  to 
St.  Januarius,  the  central  space  covered 


NAPLES 


by  a  roniiil  (loino.  ami  tlie  vault  of  the 
roof  painted  with  figure  subjects  from  the 
life  of  the  saint  by  Domenichino  and 
Sjaagnuoletto.  Under  the  choir  is  the 
sumptuous  crypt  or  confessio  of  S.  Gen- 
naro,  coutaiuing  the  body  of  the  saint. 
The  front,  dating  from  1-407,  is  in  three 
vertical  divisions,  each  with  a  square 
doorway  covered  by  a  gable,  the  central 
one  with  a  rich  portal  dating  from  1407, 
and  a  two-light  pointed  window  above. 
Each  division  ends  in  a  gable,  and  the 
front  is  flanked  by  two  projecting  square 
towers,  enclosing  staircases.  (>SVc  Fiij. 
125.) 

The  Palazzo  Reale  (Royal  Palace) 
was  built  about  lUOO  from  the  designs  of 
Domenico  Foutana.  It  is  of  great  extent, 
with  a  west  front  nearly  450  ft.  long,  in 
three  stories,  with  projecting  wings  and 
central  pavilion  faced  with  three  orders  of 
pilasters,  Doric,  Ionic,  and  Corinthian. 
The  first  story  was  originally  an  open  ar- 
caded  loggia,  of  which  the  arches  are  now 
mostly  filled  up.  The  great  interior 
court  is  surrounded  by  two  stories  of 
finely  proportioned  arcades.  A  monu- 
mental staircase,  added  in  1G51,  and  open- 
ing from  the  court,  conducts  to  the  state 
apartments,  which  include  a  splendid 
ball-room,  a  theatre,  and  a  chapel. 

Pausilypum,  the  villa  of  Vedius  Pol- 
lio  of  the  time  of  Augustus,  extending 
down  the  slope  of  the  promont(n'y  of 
Posilipo  and  covering  a  considerable  area. 
The  massive  ruins  of  the  foundations  are 
visible  in  the  sea  for  a  distance  beyond 
the  existing  shore-line.  The  myrtle-clad 
remains  are  very  extensive  and  pict- 
nresque,  but  are  confused.  In  one  place, 
a  building  rises  to  the  height  of  three 
stories,  the  lowest  of  which  appears  to 
have  formed  i)art  of  a  bath.  Close  by,  a 
theatre  has  recently  been  excavated  with 
other  buildings;  it  has  seventeen  tiers  of 
seats,  with  a  corridor  above  and  a  tribune 
at  each  angle  of  the  orchestra.  Xotiiing 
survives  of  the  stage-structure,  which  was 


probably  of  wood.  Anotiicr  building, 
square,  with  ornamental  pilasters  and  semi- 
circular exedras,  on  the  hillside,  seems 
to  have  been  a  gymnasium.  An  odeum, 
close  by,  is  small  bnt  remarkably  perfect. 
It  has  twelve  tiers  of  seats,  a  semicircular 
stage-structure,  a  columned  recess,  ap- 
parently for  musicians,  in  the  orchestra, 
and  a  hall  above  the  middle  of  the  cavea, 
with  a  throne  separate  from  the  seats,  be- 
lieved to  have  been  for  the  emperor.  The 
ornament  of  this  odeum  was  very  rich,  it 
being  encrusted  throughout  with  ])recious 
nuirbles.  Among  the  other  buildings  are 
a  basilica,  a  so-called  hemicycle,  porticoes, 
and  nymphaea.  It  is  uncertain  whether 
the  theatre  and  the  buildings  subsequently 
enumerated  belonged  to  the  villa  of  I'ol- 
lio  or  to  the  villa  of  Lucullus. 

S.  DoJiEXico  Maggiore,  a  Gothic 
church  which  in  128.5  replaced  an  older 
one,  but  was  successively  modernized  in 
the  XV,  XVII,  and  xviii  cents.,  ami  last 
in  1850-53.  Its  plan  is  a  rectangle  about 
108  ft.  wide  and  nearly  250  ft.  long,  with 
a  nave  some  50  ft.  wide  covered  by  a  flat 
ceiling,  and  an  arcade  of  seven  pointed 
arches  on  each  side  on  thin  grouped  piers 
separating  it  from  the  aisles,  which  are 
in  groined  bays,  with  square  groined 
chapels  opening  from  them.  The  tran- 
sept is  as  broad  :is  the  nave  and  is  divided 
by  single  high  pointed  arches  into  three 
bays,  of  which  the  central  one  at  the  cross- 
ing is  groined,  the  others  being  covered 
by  pointed  barrel  -  vaults.  Above  the 
main  arcades,  which  are  very  high  and 
acutelv  pointed,  is  a  rather  high  wall  con- 
taining two-light  traceried  clerestory  win- 
dows, with  flanking  pinnacles  and  ])anel- 
work  between.  The  octagonal  choir, 
formerly  square-ended,  is  vaulted,  and 
llankeil  by  two  chapels  on  each  side. 
Stairs  from  the  angles  of  the  choir  lead  to 
a  small  crjijt  with  Doric  half  columns  on 
the  walls,  supj)orting  a  bracketed  cornice. 
The  church  is  decorated  with  much  rich- 
ness  and  contains   manv   notable    monu- 


2« 


NAPLES 


meiits.  The  front  li;is  an  open  arcaded 
porch  in  tliree  baj's  and  under  it  a  Nor- 
man-looking doorway.  Tliese  portions 
are  })robably  altered  survivals  of  the  older 
ehurch.  The  transitional  porch  at  the 
entrance  of  the  east  transept  dates  from 
the  XV  century. 

S.  FiLiPi'O  Neri,  known  also  as  the 
Gerolamini,  was  built  between  the  years 
1593  and  KU!)  by  Dionisio  di  Bartolom- 
meo  for  the  saint  whose  name  it  bears. 


and  is  richly  decorated  with  marbles  and 
statues.  The  great  monastery  adjacent 
to  the  church  contains  a  fine  library. 

8.  Maktino.  'This  secularized  Car- 
thusian convent  has  been  turned  into  a 
museum,  under  the  care  of  the  Italian 
government.  It  is  reputed  to  date  from 
the  end  of  the  Vi  cent.,  but  was  rebuilt 
for  the  Carthusians  in  1325,  and  entirely 
remodelled  in  the  xvii  century.  The 
church,  which  is  noted  for  its  splendid  in- 


Fig.  126 


Its  plan  is  a  Latin  cross  about  120  ft. 
wide  and  2G0  ft.  long,  its  nave  and  aisles 
divided  by  lines  of  granite  columns, 
carrying  arches,  six  on  each  side,  which 
supjjort  an  entablature,  with  a  flat  ceiling 
exuberantly  carved  and  gilded  covering 
the  nave.  The  aisles  are  divided  by 
arches  into  square  bays  covered  by  low 
domes,  and  a  rectangular  chapel  opens 
from  each  bay.  The  rectangular  transept 
has  the  breadth  of  tlie  nave  and  is  divided 
into  five  bavs,  with  a  dome  at  the  crossing 
from  which  opens  a  shallow  rectangular 
tribune.  The  facjade,  from  the  designs  of 
Lazzari,  is  divided  into  five  compartments. 


tino,  Cloister. 


terior,  was  built  over  in  1057  by  Fonsaga, 
on  its  old  lines,  and  consists  of  a  nave  of 
three  bays,  without  aisles  or  transept,  and 
a  deep  square-ended  chancel,  which  served 
as  choir.  It  is  lined  with  an  order  of  Com- 
posite pilasters,  facing  heavy  piers,  under 
which  the  arcades  open  into  three  chapels 
each  side  the  nave,  and  which  is  continued 
round  the  choir.  The  order  carries  a 
groined  pointed  vault,  whose  lunettes  are 
occupied  by  the  large  square-headed  win- 
dows of  the  clerestory.  The  arcliitectural 
detail  is  rich  and  florid,  baroco  in  style, 
the  walls  and  floor  are  lavishly  enriched 
with  colored  marbles,  aud  the  ceiling  with 


243 


NARXI 


painting.  The  cloister,  encompassing  the 
old  burial-ground  of  the  monks,  is  very 
large,  and  is  surrounded  by  a  light  and 
graceful  arcade  on  slender  Doric  columns, 
over  which  the  upper  story,  set  Ijack  to 
the  rear  wall  of  the  galleries,  is  pierced 
with  pedimented  windows  in  the  intervals 
of  an  order  of  pilasters.     {See  Fiff.  120.) 

S.  Paolo  ilAocnoRE  is  a  baroco 
churcli  designed  by  the  monk  Francesco 
Grimaldi  in  1590.  It  is  cruciform  and 
flat-ceiled,  with  nave  and  aisles  divided  by 
arches  alternately  large  and  small,  under  a 
great  order  of  Corinthian  pilasters,  and  is 
richly  decorated  and  carved  with  frescoes. 
It  stands  on  tlie  foundations  of  a  temple 
of  Castor  and  Pollux  ;  two  of  the  Co- 
rinthian columns  and  a  fragment  of  tlie 
architrave  are  incorporated  into  the  uniu- 
tei'esting  front  across  which  the  order  is 
continued  in  jjilasters. 
NAKXI  (anc.  Xarnia),  Umbria,  Italy. 

Bridge  carrying  the  Flamiuian  Way 
over  the  ravine  of  the  Xar,  built  by 
Augustus,  in  high  repute  in  antiquity  for 
its  boldness  and  height.  It  consisted  of 
three  arches,  built  of  large  blocks  of 
white  marble.  The  arch  on  the  left  bank 
is  still  intact,  and  is  GO  ft.  high  ;  the  two 
other  arches  have  fallen,  thougli  their 
massive  piers  remain  and  form  an  imjios- 
ing  ruin.  The  piers  are  placed  about  30 
ft.  apart. 

The  Cathedual  is  a  building  of 
marked  peculiarities,  built  at  various 
periods.  At  present  it  has  four  aisles 
and  a  line  of  chapels,  a  short  transept 
and  a  very  wide  seven-sided  apse.  The 
main  body  of  the  church  was  originally  a 
three  -  aisled  basilica  built  in  pre  -  Ko- 
manesque  period,  whose  nine  bays  have 
the  same  peculiar  segmental  arches  as  Sta. 
^laria  in  Pensole  {q.  ?'.).  These  arches  are 
supported  on  monoliths  with  early  capi- 
tals. The  original  wooden  roof  nuide  way, 
at  an  uncertain  period,  for  groined  cross 
vaults.  The  apse  and  the  vault  in  front 
of  it  are  a  bold  construction  of  the  xiii 


cent,  the  immense  cross-vault  over  the 
intersection  has  a  span  of  about  GO  ft.,  the 
apse,  about  40  ft.  deeji,  is  vaulted  on  eight 
converging  ribs.  Under  the  choir  is  a 
crypt  of  the  same  date  but  now  remodell- 
ed. The  second  choir  or  chapel  on  the 
left  is  also  of  the  Xlii  cent. ,  while  several 
other  chapels  date  from  the  Kenaissance. 
The  earliest  part  of  all  is  the  primitive 
Chapel  of  S.  Cassius  with  its  crj-jit,  whose 
origin  is  in  the  iv  or  v  century.  The 
bell-tower  is  a  brick  construction  of  the 
XII  cent.,  resembling  those  of  Rome.  The 
portico,  a  fine  work  of  the  Kenaissance, 
has  an  inscription  of  1491.  This  is  prob- 
ably the  date  of  the  restoration  of  the  en- 
tire church  and  the  addition  of  the  vaults. 
Within  the  church  is  a  fine  series  of 
Renaissance  sculfitured  monuments  of  the 
XV  and  xvi  centuries.     [A.  L.  F.  Jr.] 

S.  GiKoLA-MO  is  a  good  example  of  the 
Romano-Umbrian  Gothic  of  about  1300. 
It  is  cruciform  in  plan,  built  of  stone, 
and  has  a  square  ajiso  without  side  chaji- 
els.  Its  nave  consists  of  three  square 
compartments  measuring  32  ft.,  with 
cross-vaults  and  pointed  transverse  arches 
ribbed  like  examples  at  Perugia  and 
Rieti.  The  groups  of  colonettes  sustain- 
ing them  are  simjjle  and  elegant.  In 
each  bay  is  a  one-light  pointed  window  ; 
there  is  an  oculus  in  the  apse  and  tlie 
fayade  had  a  rose-window,  now  destroved. 
[A.  L.  F.,  .Jr.] 

Sta.  Mauia  ix  Pex80le  is  peculiar  for 
the  form  of  its  arches.  It  is  a  simple 
basilica  with  an  open  porch.  The  three 
arches  of  its  porch  and  the  four  of  its 
nave  are  so  flat  as  to  be  but  a  small  seg- 
ment of  a  circle.  It  is  difficult  to  assign  a 
date  to  the  church.  There  is  an  inscrip- 
tion in  the  porch  dated  1175  ;  but  an  in- 
scription of  the  v  cent,  was  found  in  the 
crypt.  [A.  L.  F.,Jr.] 
NAZARETH,  Palestine. 

Chukch  of  the  Axxunciatiox,  a 
small  and  simple  church  enclosed  in  the 
Latin  monastery  and  built  in  the  xvii- 


NEANDRIA 


XYiii  cents,  over  the  grotto  in  which,  ;ic- 
coi'ding  to  the  tradition  of  the  Latin 
clinrcli,  was  the  scone  of  the  Annunciation. 
The  cliurch  is  aijproximately  o(i  ft.  bv  To 
ft.,  and  is  divided  intn 
bays  by  four  heavy 
square  piers,  and  arcli- 
es,  transverse  and  lon- 
gitudinal, springing 
from  them,  which  car- 
ry low  domes  resting 
on  pendentives.  The 
spacious  choir  occu- 
pied at  service  by  the 
monks  is  raised  high 
above  the  nave,  and 
reached  by  a  double 
flight  of  stejis  with  an 
arch  between.  The 
architecture  is  plain 
and  bald,  the  richness 
of  the  interior  being 
due  to  its  hangings. 
Between  the  ascending 
steps  a  descending 
flight  leads  to  the  crypt 
or  grotto,  which  con- 
sists of  three  parts: — a  vaulted  narthex  : 
then  the  chapel  of  the  Annunciation  prop- 
er, where  JIary  was  met  by  the  Angel 
Gabriel ;  then  an  apse  covered  by  a  semi- 
dome,  the  Chapel  of  St.  Joseph — and  be- 
hind them  all  a  bare  cavern  in  the  rock. 
The  grotto  is  reputed  to  be  the  house  of 
St.  Joseph.  A  great  basilica  built  here 
in  the  early  days  of  the  church  is  re- 
peatedly mentioned  by  pilgrims  and  early 
writers.  It  survived  to  the  time  of  the 
Crusades,  but  was  destroyed  by  the  Turks 
in  12(i3.  The  present  church,  begun  by 
the  Francisans  in  1620,  was  finished  as  it 
now  stands  in  1730.  {See  Fig.  127.) 
NEAXDRIA  (Mt.  Ohigri),  Asia  Minor. 

The  Fortifications  are  of  hewn  ma- 
sonry, partly  polygonal  and  partly  squared, 
of  different  dates  before  the  iv  century 
B.C.  The  plan  is  an  irregular  rhom- 
boid.    The  walls  are  in  good  preservation 


throughout  the  circuit  of  two  miles,  and 
are  among  the  finest  military  remains  of 
Asia  Minor.  The  chief  gates  at  the  N.E. 
and  the  south  are  flanked  by  square  towers. 


127. —  Nazareth.  Church  of  the  Annunciation. 


The  Temple  is  of  importance  as  giving 
definite  knowledge  of  a  new  tyjje.  The 
foundation,  of  somewhat  rough  masonry, 
measures  -12  ft.  by  S-i  ft.,  the  cella  (in- 
terior) 26^  ft.  by  65  ft.  It  is  thought 
that  it  was  not  peripteral,  Init  that  it  had 
perhaps  a  widely  overhanging  roof.  The 
cella  was  divided  into  two  aisles  by  a 
central  range  of  seven  columns.  The 
shafts  were  smooth,  without  base,  tajaer- 
ing  much  toward  the  top.  The  capitals 
were  of  proto- Ionic  type,  wide -spread- 
ing volutes  originating  in  vertical  bands, 
but  with  the  addition  of  a  necking  formed 
of  two  leaf-mouldings.  Mr.  Koldewey 
holds  that  this  type  o^  capital  is  not 
Ijroto-Ionic,  but  a  type  heretofore  un- 
recognized which  he  calls  ^Eolic.  Access 
to  the  cella  was  by  a  door  4  ft.  wide  in 
the  west  end.  The  two-aisled  arrange- 
ment is  paralleled  in  the  so-called  Basilica 


245 


NEMEA 


at  Paestimi  (r/*.  Loeri).  Sueli  douhle  tem- 
ples may  have  been  less  iinconiiiion  in 
(Iroek  antiquity  tliaii  lias  been  believed. 
The  face  of  the  terra-eotta  cyma  was  or- 
namented with  animals  in  relief,  and  the 
aiitefixes  with  the  head  and  shoulders  of 
an  animal  of  the  cat  or  fox  tribe.  In 
date  the  structure  can  be  assigned  to  the 
VII  century  is.c. 
NEMEA,  Argolis,  Greece. 

Temple  of  the  Xemeax  Zeus  (Jupi- 
ter), described  by  Pausanias  as  a  notable 
buililin?.  notwithstanding  that  already  the 
roof  had  fallen  in  and  the  statue  disap- 
peared. Tlie  temple,  which  stood  in  a 
grove  of  cypresses,  was  a  Doric  hexastyle 
peripteros,  of  which  three  columns  arc 
still  standing.  Two  of  these  columns, 
between  anta?,  in  the  pronaos,  are  -1  ft. 
7  in.  in  diameter  at  the  base,  and  still  sup- 
port tlie  architrave.  The  surviving  jier- 
istjde  column  is  5  ft.  3  in.  in  diameter  at 
the  base  and  about  '.ii  ft.  high.  The 
width  of  the  stylobate  in  front  was  about 
(j.5  ft.  The  metopes  were  not  sculptured 
and  were  cut  on  the  same  block  with  the 


1-i  ft.  The  fa<;ade  is  simple  and  follows 
the  lines  of  the  roofs  of  nave  and  aisles. 
In  the  middle  of  the  gable  is  an  oculus  ; 
below  are  three  doorways  with  sculptures, 
which  form  the  only  decoration  of  the 
fa<;ade.  Toward  the  middle  of  this  cen- 
tury the  tower  on  the  right  fell  and 
ruined  one  side  of  the  church,  which  was 
rebuilt  in  18.5G  with  the  substitution  of  a 
few  columns.  The  round-headed  windows 
are  small  and  the  apse  is  shallow.  The 
interior  is  remarkably  well  proportioned 
and  light.  The  round  arches,  wiiich 
are  recessed  and  rather  low,  rest  on  line 
monolithic  columns,  most  of  which  are 
ancient ;  some  of  the  foliated  capitals  are 
also  classic,  others  niediieval  imitations. 
A  low  triumjihal  arch  separates  the  nave 
fi'om  the  sanctuary,  resting  on  columns 
engaged  in  a  jjier.  Under  the  upper  part 
of  the  church  is  a  crypt,  reached  by  a 
staircase  in  the  right  aisle.  The  whole 
interior  is  covered  with  wooden  roofs.  A 
great  part  of  the  interest  with  which  the 
church  is  regarded  is  due  to  its  internal 
decoration  and  furniture,  belonginglargely 


triglyphs.     The  length  of  the  temple   is     to  the  period  of  the  foundation   of   the 


reckoned  at  something  over  150  ft.  The 
columns  have  twenty  channels  and  are 
coated  with  a  thin  layer  of  stucco.  They 
are  to  be  noted  as  among  the  most  slender 
examples  of  the  Greek  Doric. 
XEPI,  Italy. 

The  Abbey  CnuRrii  of  S.  Elia,  Just 
outside  Nepi,  is  a  simple  three-aisled  ba- 
silica built  of  coarse-grained  sandstone  and 
dates  probably  from  the  XI  century.    It  is 


church.  The  walls  of  the  apse  and  tran- 
sept were  covered  with  frescoes  in  tlie  xi 
century.  They  form  a  connecting  link  be- 
tween the  Roman  mosaics  of  the  vi  to  IX 
cents,  and  the  Italian  works  of  the  xiii  cen- 
tury. On  the  piers  of  the  transept  and  on 
the  walls  of  the  right  aisle  are  frescoes  of 
the  XIII,  XIV,  and  xv  cents.,  the  figures 
being  in  many  cases  large  and  well  pre- 
served.   The  mosaic  pavement  is  of  the  xi 


interesting  as  a  connecting  link  between     cent.,  and  so  are  apparently  the  ciljorium 


the  early  Christian  and  mediteval  styles, 
and  is  one  of  the  few  remaining  monu- 
ments of  this  period  in  the  northern  part 
of  the  Tvoman  province.  'I'he  nave  is 
divided  from  the  aisles  on  each  side  by 
six  columns.  The  measurements  are  : 
length,  nciirly  113  ft.,  of  which  the  nave 
measures  about  80  ft.:  the  transept,  24 
ft.;  and  the  apse,  8  ft.  The  width  of 
tiie  nave  is  2C  ft.  and  of  the  side-aisles. 


over  the  high  altar,  the  parapet  of  the  choir 
and  the  pulpit,  all  of  marble  with  archi- 
tectural decoration,  and  in  the  case  of  the 
pulpit,  with  ])atterns  in  low  relief.  Au 
inscription  around  the  marble  font  reads: 
Ainio     Ihii     MCCX  \  1 1   hoc   iqnis    Dna 

Wido    J'rcsiil    (irhdiHK    tempore    Douini. 

Willchni  abliitfis  Jieri  fecit.  There  are 
signs  that  the  site  was  occupied  before  the 
building  of  this  church.     [A.  L.  F.  Jr.] 


NIC^A 


NIC^A  (Iznik),  Asia  Miner. 

xVxriEXT  Kam PARTS,  remarkably  wull 
preserved,  with  their  imijosiag  towers  and 
gates.  The  area  enclosed  is  about  twelve 
miles  long  and  four  wide.  There  are  two 
battlemented  walls,  separated  by  an  interval 
of  a  little  over  50  ft.  The  inner  wall  has 
one  hundred  and  eight  lofty  semicircular 
towers ;  the  outer,  one  hundred  and 
thirty  lower  towers,  so  disposed  as  to  alter- 
nate with  the  towers  of  the  inner  wall. 
There  are  three  great  gates  out  of  the 
original  four,  flanked  by  massive  towers 
of  brick,  besides  two  small  gates.  One  of 
the  gates,  built  of  marble  in  IW  a.d.  by 
Hadrian,  has  the  form  of  a  triumphal 
arch.  Inside  the  Constantino^^le  Gate  is 
a  third  wall  with  three  gates,  opening  on 
the  city,  forming  a  sort  of  citadel.  The 
walls  are  from  15  to  20  ft.  thick  and  are 
still  from  30  ft.  to  40  ft.  high,  retaining 
in  places  their  battlements. 

The  Geeex  Mosque  is  a  Seljukian 
mosque  dating  from  the  xiv  cent.,  and 
named  the  Green,  from  its  minaret  faced 
with  green  tiles.  In  front  ia  a  large  pro- 
jecting marble  jioreh  on  three  pointed 
arches  surmounted  by  a  dome  ;  and  the 
principal  division  of  the  mosque  itself  is 
also  covered  by  a  dome.  Over  the  en- 
trance an  inscription  gives  the  name  of 
the  founder  Khayr-Eddin,  the  (Jrand 
Vizier  of  Murad  I.  and  the  date  780, 
that  is  1378  a.d.  An  arcade  on  columns 
surrounds  the  building. 

Theatre,  in  the  southwestern  part  of 
the  city,  facing  the  north.  It  is  probably 
the  same  building  mentioned  by  Pliny 
in  his  letter  to  Trajan,  as  having  cost. 
though  still  unfinished,  ten  million  ses- 
terces ($387,500).  It  is  one  of  the  few 
theatres  in  Asia  not  built  against  a  hill- 
side, its  cavea  being  entirely  sustained  on 
vaulted  substructions.  The  greater  diam- 
eter is  260  ft.  The  jnasonry  is  of  large 
blocks  of  limestone  laid  without  cement. 
The  structure  is  very  ruinous, and  is  in  great 
part  buried  under  accumulations  of  soil. 


NICOSIA,  Cyprus. 

St.  Catherine,  now  a  mosque,  con- 
sists of  a  single  nave,  about  GO  ft.  long 
and  27  ft.  wide,  in  three  vaiilted  bays,  of 
which  the  eastern  merges  into  a  semi- 
octagonal  apse  concealed  on  the  outside 
by  a  straight  wall.  Tlu-rc  are  lateral 
buttresses  in  the  form  of  half -octagon 
turrets,  and  a  rose  window  in  the  front : 
and  the  Turks  have  built  a  high  miiuiret 
on  the  S.  \\.  corner. 

St.  Nicholas,  now  used  as  a  gov- 
ernment storehouse,  is  a  barrel -vaulted 
church,  about  130  ft.  long,  with  three 
eastern  ajises,  and  a  central  dome  on  an 
octagonal  tower.  It  is  apparently  a  little 
later  than  the  old  cathedral,  which  stands 
just  north  of  it. 

St.  Sophia,  the  old  cathedral,  is  a 
large  and  handsome  church,  perhaps  of 


Fig.  128.— Nicosia.  St.  Sophia. 

the  XIII  century.  It  is  three  aisled,  about 
215  ft.  long,  and  80  ft.  across  the  front. 
The  nave,  of  25  ft.  sj)au,  and  the  aisles 


247 


NIKOLEIA 


are  vaultt'il  in  six  bays,  and  end  in  an 
apsidal  clioir,  round  witliin  and  a  lialf 
dooagou  without,  encircled  by  tlie  aisle. 
Flanking  the  eastern  jiart,  like  transejDts, 
are  two  chapels  with  eastern  apses.  At 
the  front,  which  is  later  than  the  rest,  are 
the  stumps  of  two  great  corner  towers, 
and  between  them  a  vaulted  porch,  which 
may  be  an  addition,  for  behind  the  ruined 
upper  story  appears  the  great  traceried 
window  at  tlie  end  of  the  nave.  As  in  the 
cathedral  at  Famagusta,  the  vaults  were 
the  only  covering  of  the  church,  and  no 
roofs  were  built  over  them.  The  kings 
of  Cyprus  were  crowned  here,  and  some 
medieval  tombs  remain,  disfigured  by  the 
Turks,  who  have  used  the  church  for  a 
mosque,  and  built  two  tall  minarets  at  its 
sides.  {See  FUj.  L2S.) 
NIKOLEIA,  Phrygia,  Asia  Minor. 

KocK-TOMB  ascribed  to  the  beginning 
of  the  VII  cent.  B.C.,  and  important,  if 
this  date  is  correct,  as  one  of  the  earliest 
exemplars  of  the  Doric  style.  The  fa9adc, 
i)i  niifis,  has  widely  spaced,  slender,  un- 
I'hanneled  columns,  tapering  but  little, 
with  three  annulets  beneath  the  capital, 
and  the  high  echinus  forming  an  angle  of 
about  forty-five  degrees  with  the  shaft. 
The  triglyphs  are  low  and  project  bej^ond 
the  plane  of  the  architrave  ;  there  are  two 
in  the  sjwces  between  antaj  and  columns, 
and  four  in  the  intercolumniations.  The 
cornice  is  slight  and  without  mutules,  the 
pedinu'ut  low  and  with  a  high  cynui. 
Many  of  these  details  seem  to  indicate  a 
late  date  instead  of  an  early  one. 
NLMROUD-KALESSI.  See  Aeffm. 
NOCEIJA  (dei  Fagani),  Italy. 

Sta.  Maria  Macuuoke,  also  called 
La  Rotouda,  a  circular  church  evidently 
at  first  a  baptistery,  but  differing  in 
many  particulars  from  the  usual  tyjie  of 
such  structures  in  Italy.  It  consists  of  a 
central  hall  about  38  ft.  in  diameter  with 
a  surrounding  aisle  IG  ft.  wide,  from  which 
it  is  sejiarated  by  a  ring  of  coupled  Corin- 
thian columns,  some  of  which  are  antique. 


licariiig  narrow  iviund  arches.  The  cen- 
tral space  is  covered  by  a  dome  of  peculiar 
form,  its  section  a  slightly  cusjied  arch, 
the  lower  part  circular  and  the  upper  el- 
liptical. The  lower  portion  is  built  with 
great  massiveness,  as  a  foundation  and 
buttress  for  the  upper  portion,  which  is  a 
thin  shell.  The  dome  sjirings  directly 
from  the  capitals  of  the  columns  ;  its 
upper  2)ortion  is  jiicrced  by  eight  windows, 
and  its  crown  is  about  io  ft.  above  the 
pavement.  The  surrounding  aisle  is 
divided  by  strong  transverse  arches  into 
fifteen  bays,  corres2)onding  with  the  arches 
under  the  dome,  and  roofed  by  flat  seg- 
mental vaults.  Opposite  one  of  these 
bays,  double  the  width  of  the  others,  a 
semicircular  apse  projects  from  the  outer 
wall  of  the  aisle  and  is  covered  by  a  semi- 
dome.  In  the  centre  of  the  building  is 
a  circular  baptismal  basin  of  unusual 
size,  about  18  ft.  in  diameter,  surrounded 
by  a  low  wall,  of  which  the  outer  face  is 
octagonal  and  which  formed  the  stylo- 
bate  for  eight  columns,  of  which  only 
three  are  now  standing.  These  columns 
doubtless  supported  a  caiujpy  covering 
the  basin.  The  exterior  of  the  baptistery, 
nearly  concealed  by  adjacent  buildings,  is 
extremely  simple.  Aliovo  the  aisle  roof 
rises  a  low  wall  carried  up  on  the  lower 
masonry  of  the  dome  to  supjiort  the  low- 
jiitched  wooden  roof  whicli  covers  it. 
This  wall  is  pierced  witli  small  windows 
communicating  with  those  in  the  dome  it- 
self. This  building  has  been  thought  to 
be  the  earliest  instance  in  whicli  the 
masonry  of  a  dome  or  vault  was  covered 
by  a  wooden  roof.  There  is  no  record  of 
tlie  date  of  this  building,  but  Mothes  as- 
signs It  to  the  first  half  of  the  v  cent., 
Hubsch  to  the  beginning  of  the  vi. 
NOLA,  Italy. 

The  Catiieuual  01'  Sta.  Maim  a  is  the 
rebuilding  of  an  older  church,  and  dates 
in  its  present  form  from  the  end  of  the 
XIV  century.  It  is  a  basilica  with  nave  100 
ft.  long  and  GO  ft.   high,  separated  from 


248 


NORCIIIA 


till'  aisk's  I)\"  arcades  and  opening  into  a 
transept  with  three  eastern  apses.  The 
clerestory  and  aisle  walls  are  pierced  with 
numerous  narrow  windows.  The  front 
has  three  doorway's,  over  the  middle  one 
of  which  are  two  arched  windows  and  a 
round  window.  Under  the  church  is  a 
crypt  dedicated  to  iS.  Felix,  with  three 
rows  of  columns.  The  church  had  fallen 
into  ruins,  but  has  been  in  late  years  re- 
stored by  the  Government. 
NOEClilA  (anc.  Orcle  ?).  Italy. 

Etui'scax  Xeckopolis,  exhibiting  a 
number  of  tombs  of  ordinary  types  ranged 
in  an  impressive  rock-amj)hitheatre,  and 
two  which,  except  for  the  monuments  at 
Sorana,  are  without  parallel  in  Etruria. 
They  consist  of  imitations  of  temjile- 
fronts,  with  columns,  entablatures,  and 
pediments  filled  with  sculpture.  The 
friezes  ape  the  Doric,  and  the  entire  char- 
acter of  the  work  shows  attentive  study 
of  the  Greek.  The  pediment -sculptures 
represents  vigorous  combats  of  warriors, 
fully  armed.  The  column-shafts  are  now 
knocked  away.  The  interior  chambers  of 
these  tombs  are  small  and  plain  almost  to 
rudeness.  Dennis  dates  tliera  early  in  the 
IV  century  B.C. 
NO\'ARA,  Italy. 

The  Baptistery  is  an  octagonal  build- 
ing standing  at  the  west  end  of  the  atrium, 
older  than  the  cathedral,  which  it  faces, 
jierhaps  even  as  old  as  the  v  century.  It 
consists  of  a  central  octagon  about  35  ft. 
in  diameter,  with  ancient  Corinthian  col- 
umns in  the  angles  on  high  plinths,  four 
of  them  with  fluted  shafts  and  all  bearing 
stilt  -  blocks,  from  which  spring  round 
arches,  forming  the  openings  of  recesses 
or  niches,  alternately  square  and  semi- 
circular, and  covered  with  barrel-vaults. 
On  the  arches  is  carried  up  the  high  clere- 
story wall,  with  a  single  window  in  each 
face  above  the  roof  of  the  surrounding 
niches.  The  wall  supports  an  octagonal 
dome,  crowned  with  a  small  lantern  with 
windows.      A   large  Roman   vase   in    the 


centre  of  the  floor  was  used  as  the  baptis- 
nnd  font.  The  exterior  is  quite  plain,  of 
brick,  the  lower  portion  without  other 
opening  than  the  doorway  from  the  atrium. 
The  upper  portion  has  small  angle-shafts, 
and  an  arched  corbel-table  over  the  clere- 
story windows,  between  which  and  the  cor- 
nice are  three  small  arches  in  each  face, 
opening  into  the  space  between  the  dome 
and  its  wooden  roof  ;  the  precursor  of  the 
arcaded  eaves-gallery  so  ccnnmou  in  the 
later  Lombard  buildings. 

The  Cathedral  is  an  interesting  and 
important  Lombard  church,  which  has, 
however,  been  greatly  injured  by  restora- 
tions, the  latest  of  which,  in  1862,  destroyed 
many  of  its  most  characteristic  features. 
It  is  a  five-aisled  church,  about  110  ft.  in 
total  width,  ajJi^roached  until  recently 
through  an  atrium  or  fore-court,  with  low 
arcades  on  the  sides,  from  the  westerly  side 
of  which  opened  the  baptistery.  The 
atrium  has  been  sacrificed  to  make  room 
for  a  modern  Corinthian  portico.  Its 
eastern  side  was  occupied  by  the  narthex, 
also  now  transformed,  in  two  stories  di- 
vided into  seven  compartments,  those  of 
the  lower  story  filled  each  with  a  round 
arch,  three  of  them  occupied  by  doorways, 
while  those  of  the  upper  story  are  sub- 
divided each  into  three  blind  arches,  with 
a  small  window  in  the  central  arch.  The 
narthex  is  vaulted  in  square  bays,  and  its 
upper  story  forms  a  gallery  opening  by 
broad  arches  into  the  nave.  It  is  covered 
by  a  lean-to  roof,  out  of  which  rises  in  the 
centre  the  gable  of  the  nave,  and  at  the 
ends  two  square  carapanili.  The  whole 
arrangement  much  resembles  that  of  S. 
Ambrogio  at  Milan.  The  interior  is  pe- 
culiar in  many  respects.  The  nave  is 
al)out  35  ft.  wide  and  95  ft.  long,  and  is 
divided  into  three  bays,  of  which  the  first 
and  third  are  square  and  comprise  each 
three  bays  of  the  aisles,  the  middle  one, 
which  is  shorter,  comprising  two.  All 
are  vaulted,  but  the  vaulting  of  the  nave 
is  thought  to  rejilace  a  flat  wooden  ceiling. 


249 


OLYMPIA 


Fi'oin  tlie  conipdiiiKl  |iii'rs  diviiliiiy  the 
nave  bays,  strong  transverse  arches  are 
carried  across  the  nave.  Intermediate 
columns,  two  to  eacli  square  bay  and  one 
to  the  shorter  bay.  cori-espond  to  the  bays 
of  the  aisles.  Of  the  double  aisles  on 
each  side,  the  inner  have  a  broad  vaulted 
ujiper  gallery,  with  arclies  corresjiondiug 
to  those  below  ;  the  outer  are  divided  into 
chapels.  So  far  the  original  construction 
is  substantially  unchanged.  But  the  east- 
ern portion  of  the  church  has  been  much 
altered.  The  transept  does  not  project 
beyond  the  walls  of  the  outer  aisles.  'J'he 
crossing  is  covered  by  an  octagonal  dome, 
the  arms  by  smaller  domes  of  an  elliptical 
plan.  The  transept  arms  are  closed  from 
the  aisles  by  a  solid  wall,  pierced  with  a 
small  doorway  on  each  side.  The  choir, 
as  long  as  the  nave,  is  in  three  divisions, 
a  square  bay  covered  by  an  elliptical  dome 
like  those  of  the  transept,  a  second 
square  bay  with  a  four-part  vault,  and  a 
deep  round  ap)se  with  a  ribbed  semi-dome. 
A  square  campanile  stands  detached  in 
the  X.  E.  angle  between  the  transejit  and 
choir.  Portions  of  the  present  church 
date  from  the  early  part  of  the  viii  cent.  ; 
Mothes  gives  three  dates,  7-iG,  1020,  and 
1124,  as  the  important  periods  of  its  con- 
struction. 

S.  (lAUDKNZio  is  a  church  of  unusual 
plan  built  near  1580  by  Pellegrino  Tibal- 
di.  It  is  a  Latin  cross  about  270  ft.  long 
and  1.50  ft.  across  the  transept,  whose  pro- 
jection is  made  conspicuous  by  the  ab- 
sence of  aisles,  and  has  a  long  a])sidal 
choir.  The  rather  narrow  fayade  is  in 
two  stories  of  grouiied  jiilasters,  with 
curved  flanking  l)uttresses,  a  pediment 
above,  and  a  jiorch  on  relieved  columns 
over  the  door.  The  church  staiuls  free, 
and  the  pilasters  are  continued  in  cou})lcs 
along  the  sides  and  about  the  long  arm  of 
the  choir,  with  niches  between  them.  In 
the  angle  between  the  north  transej)t  :iiid 
choir  is  a  fine  bell-tower,  square  below, 
octagonal  above,  ending  in  a  baroco  cupo- 


la. Tlie  origi)ial  dome  lias  been  replaced 
by  a  high  new  one  on  a  drum  surrounded 
by  Corinthian  columns,  not  only  dwarf- 
ing the  bell-tower,  but  by  its  weight  en- 
dangering the  piers  that  support  it.  The 
interior  is  lined  with  ])ilasters  in  pairs,  the 
nave  alone  being  bordered  with  shallow 
chapels,  and  is  barrel-vaulted  throughout. 
OLYMPIA,  Elis,  Greece. 

The  Altis  (sacred  grove),  or  sanctuary 
of  Zeus  Olympics  (Olympian  Jove),  the 
scene  of  the  Olympic  games,  is  in  a  plain 
between  the  rivers  Alphens  and  C'ladeus, 
and  an  irregular  hill  called  Mt.  Kronios. 
The  sanctuary  consisted  of  a  sacred  enclos- 
ure, surrounded  by  a  wall  of  blocks  of  Poros 
stone,  containing  several  temples  and  many 
other  splendid  buildings,  and  adorned 
with  groves,  altars,  and  statues,  and  other 
outlying  buildings.  'i'he  Altis,  whicli, 
tradition  says,  was  laid  out  and  enclosed 
with  a  wall  by  Hercules,  had  several  en- 
trance-gates, the  principal  of  which,  the 
Pompic  gate,  was  used  for  grand  proces- 
sions. On  the  east  side,  without  the  wall, 
were  the  Stadium  and  the  Hippodrome, 
the  scene  of  the  principal  contests  of  the 
Olympic  games.  After  the  Koman  con- 
quest (I-IO  B.C.)  the  festival  was  kept  up 
with  great  sjilendor,  and  nmny  of  the  most 
elaborate  buildings  at  Olynipia  were  due 
to  the  emperors.  Tlie  games  were  con- 
tinued until  311-1  A.I).,  when  an  end  was 
jnit  to  them  by  Theodosius  I.  lie  re- 
moved Phidias's  great  cliryselejihantine 
statue  of  Zeus  to  Constantinople,  where  it 
was  burned  in  47.5.  and  dmibtless  from 
his  time  the  temples  and  other  buildings 
gradually  fell  to  decay.  The  Altis  was 
:in  irregular  quadrilateral  enclosure,  its 
two  longest  sides  (east  and  west  and  north 
and  south)  extending  about  G80  feet, 
'i'he  Temi>le  of  Zeus  stood  S.  E.  of  the 
nuddle,  upon  a  terrace  about  .574  ft.  by 
2112  ft.  On  the  north  side,  at  the  base 
of  Mt.  Kronios,  was  a  higher  terrace, 
reat'hed  by  steps,  on  which  stood  the 
Exedra  of  llerodes  Atticus  and  a  row  of 


OLYMPIA 


treasuries.  Pansanias  iiotos  only  plcven, 
but  roiiiaiiis  of  twelve  have  l)een  found. 
The  other  buildings  within  the  xVltis  were 
the  Herffium  or  Temple  of  Hera,  the  Met- 
roon  or  Temple  of  the  Mother  of  the 
Gods,  the  Philijjpeum,  the  llippodam- 
eum,  the  Stoa  of  the  Echo,  the  Leoni- 
dajum,  the  Prytaneum.  the  Bouleuterion, 


elliptical  are  at  the  west  end,  a  form 
hitherto  deemed  un-IIellenic.  The  apse 
was  cut  off  from  the  main  chamber  by  a 
cross -wall  with  stout  doors  in  it,  and 
divided  into  two  parts  by  an  east  and 
west  wall.  The  total  exterior  length  was 
100  ft.,  the  breadth  at  the  east  end  43  ft. 
The  side  walls   are   curved   slightly  out- 


^ 


Fig.  129— Olympia,  Plan  of  Excavations. 


and  the  Pelopeum.  The  great  altar  of 
Zeus,  on  which  the  principal  sacrifices 
were  made,  stood  north  of  the  middle  of 
the  Altis,  half-way  between  the  Metroon 
and  the  Temple  of  Zeus.  {See  Fir/.  129.) 
BorLEiTEUiox  (C'ouncil-hou.se),  with- 
in the  Altis.  It  is  the  earliest  known 
Greek  house  of  assembly  of  a  deliberative 
body  and  consisted  of  a  group  of  buildings 
facing  the  east.  The  first,  or  southern- 
most one,  probably  of  the  vi  cent.  B.C., 
was  in  ])lan  a  double  nave  with  an  ajise  of 


ward.  This  is  the  only  known  examjjle 
in  early  Hellenic  architecture  of  a 
ground  plan  tending  thus  to  an  elliptical 
form.  The  interior  was  divided  by  a 
range  of  seven  Doric  columns,  8  ft.  8  in. 
from  centre  to  centre.  The  entrance  at 
the  east  end  was  formed  by  three  Doric 
columns  between  two  autte,  on  a  stylo- 
bate  of  two  steps.  The  second,  or  north- 
ernmost building,  of  the  v  cent.  B.C., 
was  a  double  nave  with  seniicircular  apse, 
similar  in  \Am\  to  the  south  building,  but 


2S1 


OLVMI'IA 


sliowiiig  no  curve  in  the  siilc  wull^.  Both 
these  buil(liii,t;.s  ajjpear  to  have  had  Aviii- 
dows  aud  wooden  roofs.  The  third  struct- 
ure, 46  ft.  square,  between  the  north  and 
south  wings,  has  its  east  front  on  the 
same  line.  This  tliird  structure  was 
probably  roofless,  forming  an  open  court, 
presiimaljly  with  a  row  of  columns  upon 
the  open  east  side.  A  long  portico  ex- 
tended across  the  front  of  these  three 
portions  ;  it  had  twenty-seven  Ionic  col- 
umns on  the  east  front  and  three  on  each 
side,  including  the  angle-columns.  It  is 
conjectured  that  tlie  apses,  particularly 
that  of  the  south  wing,  were  the  official 
treasuries  of  the  Olympian  Council. 

Byzaxtixe  Church,  w-est  of  the  Al- 
tis.  built  upon  ancient  foundations  prob- 
ably during  the  first  half  of  the  vi  cent., 
when  severe  earthqtiakes  had  destroyed 
the  Olympian  buildings.  It  has  the  form 
of  a  basilica,  with  a  semicircular  apse  at 
the  east  and  narthex  at  the  west.  Tlie 
entrance  is  by  a  porch  on  the  south  side. 
The  church  proper,  GO  ft.  long,  was  di- 
vided into  nave  and  aisles  by  two  rows  of 
five  marble  columns  each,  with  composite 
capitals  evidently  taken  from  a  Roman 
building,  and  the  east  end  of  the  nave  cut 
off  from  the  sanctuary  by  a  marble  screen  ; 
a  brick  bench  surrounded  the  interior  of 
the  apse.  The  narthex,  or  vestibule,  19  ft. 
by  35  ft.,  opens  into  the  church  by  three 
doors.  The  ancient  building,  which  was 
replaced  by  this  church,  was  of  Poros  stone. 
and  is  assumed  to  have  been  the  studio  of 
Phidias.  It  comprised  a  vestibule  33  ft. 
by  -to  ft.  and  an  inner  apartment  GO  ft. 
by  40  ft.,  tlie  latter  divided  into  aisles  by 
two  rows  of  four  l)ori(^  columns  each.  It 
was  about  the  size  of  the  cella  of  the  tem- 
ple of  Zeus,  and  thus  may  have  jiresentcd 
advantages  as  a  studio  for  tlie  elaboration 
of  the  great  chryselephantine  statue. 
The  ancient  masonry  remains  to  a  height 
of  about  6  ft.  The  Byzantine  floor  has 
been  removed  and  the  ground  plan  of  the 
Greek  building  is  thus  revealed. 


ExEDKA  OF  IIekodes  Atticis,  built 
in  the  ii  cent,  a.d.,  by  Tiberius  Claudius 
Herodes  Atticus,  the  famous  Greek  rhet- 
orician. It  was  an  open  structure  of 
brick,  consisting  of  a  terrace  103  ft.  by 
18  ft.,  bounded  by  walls,  with  a  semicir- 
cular apse  behind  it,  whose  outside  radius 
was  31  ft.,  including  the  wall.  At  each  end 
of  the  terrace  stood  a  small  open  circular 
Corinthi;in  temple  of  eight  graceful  col- 
umns, whose  exterior  diameter  was  12  ft. 
G  in.  Upon  the  terrace,  between  the  two 
temples,  was  a  water-basin  into  which  a 
lion's  head  spouted  water  from  each  end 
of  the  wall  of  the  apse.  The  water  was 
supplied  from  a  reservoir  feil  by  an  aque- 
duct, part  of  which  is  yet  in  working 
order.  The  monument  was  dedicated  by 
Ilerodes  to  Zeus  in  the  name  of  his  wife 
Kegilla,  as  may  still  be  read  on  a  marble 
bull  that  stood  on  the  front  wall  of  the 
basin.  Within  the  apse,  between  two  Co- 
rinthian pilasters,  corresjjonding  to  great 
buttresses  behind,  were  portrait-statues 
of  the  family  of  Herodes  aud  of  those  of 
the  emperors  Antoninus  Pius  and  Mar- 
cus Aurelius. 

The  GYiiXASiuji,  used  for  exercise  in 
leaping,  running,  and  throwing  the  discus 
and  javelin,  was  a  large  level  quadrangle, 
surrounded  on  three  sides,  perhaps  on  all, 
by  stoas  or  open  halls.  The  east  hall, 
both  ends  of  which  have  been  excavated, 
measures  G'JO  ft.  by  38  ft.;  the  east  side 
and  the  ends  are  closed  by  a  wall,  the  west 
side  has  a  range  of  Doric  columns  with  an 
intercolumniation  of  10  ft.  from  centre  to 
centre.  Another  row  of  Doric  columns 
tlirough  the  uuddle  divides  the  stoa  into 
two  long  galleries.  A  second  Doric  stoa 
on  the  south  side  of  the  gymnasium  ad- 
joining the  palffistra  has  been  partly  ex- 
cavated. It  is  not  so  wide  as  the  east  one, 
and  has  no  central  range  of  columns. 
The  gymnasium  probably  dates  from  the 
early  in  century  B.C.  The  grand  entrance 
or  [iropyheum  at  the  S.  E.  angle,  between 
the  east  and  the  south  halls,  was  of  Corin- 


252 


OLYMPIA 


tliiiin  (inlcr  Avitli  four  columns  on  lioth 
oast  and  west  fronts.  Tlio  two  middli' 
columns  of  each  front  form  the  extremi- 
ties of  two  rows,  each  of  six  columns  and 
a  central  pier,  which  divide  the  gateway 
into  three  aisles — the  middle  one  (main 
entrance)  is  11  ft.  wide.  This  building  is 
apiiarently  of  somewhat  later  date  than 
the  porticoes  of  the  gymnasium.  Pausu- 
nias  tells  us  tiiat  the  open  court  was  paved 
with  stone  for  the  exercises  of  the  ath- 
letes, and  that  their  lodgings  were  against 
the  wall  of  the  east  stoa,  opening  toward 
the  setting  sun. 

The  IIer^eum,  or  Temple  of  Ilera 
(Juno),  was  founded,  according  to  tradi- 
tion, about  1100  B.C.  Some  existing  re- 
mains may  date  back  to  the  viii  century 
B.C.  It  was  Doric,  hexastyle,  i)erii3teral, 
with  sixteen  columns  on  the  flanks  and  two 
between  antaj  in  jironaos  and  opisthodo- 
mos  ;  the  ground  plan  is  IGl  ft.  by  Gl  ft. 
G  in. ;  the  cella,  raised  upon  a  special  foun- 
dation step,  133  ft.  by  37  ft.  The  cella, 
whose  walls  above  the  foundation-course 
were  apparently  built  of  brick,  was  divid- 
ed into  three  aisles  by  two  rows  of  eight 
Doric  columns  each,  the  middle  aisle  be- 
ing 12  ft.  wide.  These  columns  were  put 
in  in  Koman  times  ;  originally  pilasters 
stood  out  from  the  walls,  forming  on  each 
side  live  chapel-like  niches.  The  peri- 
style stood  on  a  stylobate  of  two  steps. 
The  columns  were  17  ft.  7  in.  high,  aliout 
10  ft.  8  in.  apart,  and  varied  in  diameter 
from  3  ft.  3  in.  base  and  2  ft.  8  in.  neck, 
to  i  ft.  2  in.  base  and  3  ft.  neck.  They 
differed  also  in  the  form  of  the  capitals, 
which  ranges  from  the  most  archaic  type 
to  the  straight-lined  profile  of  the  llonuin 
period.  One  column  had  only  sixteen 
channels  ;  all  the  others  had  twenty. 
These  anomalies  are  exjilained  by  the  fact 
that  the  columns  were  erected  at  widely 
different  periods  to  replace  the  original 
shafts  of  wood,  of  which  Pausanias  says 
that  he  saw  one  remaining  still  in  the 
opisthodomos.     Some  of  the  older  stone 


shafts  were  monolithic.  The  entablature 
aiul  roof-frame  were  probably  to  the  last 
of  wood,  since  no  stone  fragments  belong- 
ing to  these  members  have  been  found ; 
and  the  temple  had  roof-covering,  cyma, 
cresting,  and  remarkable  acroteria  of 
terra-cotta.  The  material  was  in  general 
a  fine-grained  Poros  stone,  but  a  coarse 
shell-conglomerate  was  also  used.  The 
opisthodomos,  closed  like  the  cella  with 
gratings,  served  as  a  treasury.  In  this 
temf)le  was  found  during  the  German  ex- 
cavation (1874  to  1881),  the  famous  statue, 
by  Praxiteles,  of  Hermes  bearing  the  in- 
fant Dionysos,  mentioned  by  Pausanias, 
now  in  the  new  museum  of  Olympia. 

The  liERoiix  (chapel  of  a  hero),  outside 
the  Altis,  about  48  ft.  square,  on  the  west 
side,  was  a  long  hall,  IG  ft.  wide,  access  to 
which  was  afforded  by  a  portico  of  three 
columns  ;  in  the  S.  E.  angle  was  a  room 
29  ft.  by  15  ft.,  and  north  of  it  a  circular 
room  inscribed  in  a  scpuire,  diameter  2G  ft., 
with  entrance  from  the  hall  and  an  altar 
on  the  south  side.  There  is  some  indica- 
tion that  the  major  part  of  this  building 
was  of  wood. 

The  IIii'i'ODUOME  is  entirely  destroyed 
by  the  floods  of  tlie  Alpheios,  and  as  yet 
unexcavated.  It  lay  immediately  south  of 
the  stadium. 

The  Leonid.bum  was  named  from  its 
founder,  Leonidas  the  Elian,  and  was 
converted  in  the  first  cent.  a.d.  into  a 
residence  for  the  Roman  magistrates  of 
Achaia.  It  had  atrium,  impluvium,  baths, 
and  niches.  It  was  probalily  the  largest 
building  in  Olymjiia,  except  the  great 
gymnasium,  which  has  not  as  yet  been 
entirely  excavated.  The  Greek  building, 
which  "dated  from  about  the  middle  of  the 
IV  cent.  B.C.,  consisted,  like  the  Roman, 
of  four  wings  surrounding  a  central  court 
88  ft.  7  in.  deep,  the  whole  enclosed  with- 
in an  exterior  portico  of  Ionic  order  built 
of  Poros  stone,  except  the  ornamented 
and  brilliantly  paiuted  gutter,  which 
was  of  terra-cotta.     The   details  are  un- 


OLYMl'IA 


refiuc'd.  The  dimensions  were  200  ft.  l)y 
2-44  ft.  The  height  from  the  ground  to 
the  rim  of  the  gutter  was  nearly  23  ft. 
The  interior  portico  surrounding  the 
court  was  Doric.  The  outline  of  the 
echinus  was  straight,  and  tlie  abacus  thin 
and  insignificant.  To  light  the  rooms 
beneath  the  portico  the  columns  were 
made  vei-y  slender,  and  widely  spaced  ; 
three  triglyphs  in  tlie  frieze  corresponded 
to  every  pair  of  columns.  The  entabla- 
ture of  this  jjortico  retains  in  great  fresh- 
ness its  ancient  coloring.  The  trigly[)hs 
and  regula;  were  painted  very  dark  blue  ; 
the  crowning  members  of  the  frieze,  red. 
The  sculptured  mouldings  of  the  cornice 
show  a  great  variety  of  colors — red,  blue, 
white,  yellow,  in  various  novel  combina- 
tions. The  Leonida?um  may  have  been  de- 
signed as  a  gymnasium,  or  indeed  for  the 
use  to  which  tlie  Romans  finally  put  it — 
as  a  lodging-jjlace  for  strangers  of  dis- 
tinction. iSomc  have  sought  to  identify 
it  with  the  Palace  of  Xero. 

Metroox,  or  Temple  of  the  Mother  of 
the  Gods,  prot)ably  of  tlie  in  cent.  li.r., 
roughly  restored  in  Roman  times  and  filled 
with  statues  of  the  emperors,  and  wholly 
pulled  down  in  the  v  or  vi  cents,  by  the 
Byzantines,  who  used  the  stones  to  build 
fortifications.  It  was  Doric,  hexastyle, 
peripteral,  with  eleven  columns  on  fianks 
and  two  between  antse  in  pronaos  and 
opisthodomos  ;  the  ground-plan  was  08  ft. 
by  35  ft.  The  columns  were  channelled, 
resting  on  a  stylobate  of  three  steps. 
I'ragmeuts  of  the  frieze  show  pronounced 
traces  of  red  and  blue.  The  capitals  were 
of  peculiar  profile. 

OcTAGOXAL  BriLinxo,  so-called,  with- 
out the  Altis  east  of  the  Palace  of  Xero. 
The  heart  of  the  building  was  an  oct^ig- 
onal  chamber,  and  was  vaulted  over.  It 
was  surrounded  by  rooms  of  various  sizes 
and  was  evidently  addeil  to  from  time  to 
time,  especially  toward  the  north  and 
west,  so  that  it  came  to  encroach  upon 
the    Palace    of   Xero.     A    well-preserved 


architectural  mosaic  has  been  found  in  the 
northern  jjart  of  the  building.  It  dates 
from  very  late  Roman  times,  and  probably 
served  as  lodgings  for  imperial  officials. 

Palace  of  X'ero,  without  the  Altis, 
adjoining  the  Southeast  Stoa,  of  wJiich 
the  materials  were  ruthlessly  taken  for  its 
construction.  It  was  a  luxurious  but 
hastily  built  Roman  villa,  with  vestibule, 
atrium,  many  chambers,  baths,  a  spacious 
court  surrounded  by  a  portico  and  many 
dependencies.  It  is  identified  by  an  in- 
scription stamped  upon  a  lead  water- 
pipe. 

The  PaL-BSTRA  (Wrestling-school), 
without  the  Altis  and  contiguous  to  the 
gymnasium,  is  of  the  end  of  the  iv  cent. 
i!.c.  or  beginning  of  the  in.  A  quad- 
rangle 21!)  ft.  square  is  enclosed  by  a  wall 
which  surrounds  a  series  of  halls  and 
rooms  of  various  sizes  ;  in  the  midst  of 
these  halls  and  rooms  is  a  quadrangular 
court  130  ft.  square  surrounded  by  Doric 
porticoes  10  ft.  4  in.  wide,  with  seventy-two 
Doric  columns.  There  are  ranges  of  Ionic 
columns  between  the  chambers  aiul  the  jior- 
tico,  some  have  only  the  ujiper  half  fiuted, 
others,  like  the  Doric  columns  of  the  cen- 
tral portico,  are  fluted  on  the  exterior  side 
only.  Water  ran  in  a  narrow  channel 
round  four  sides  of  the  court  and  flowed 
out  at  the  S.  E.  angle.  The  outer  wall 
had  a  foundation  of  Poros  stone,  above 
which  it  was  built  of  brick.  The  interior 
was  mostly  of  a  fine-grained  Poros.  The 
sculptured  portions  were  carefully  exe- 
cuted and  covered  with  a  coat  of  fine 
stucco.  Abundant  traces  of  color — red, 
blue  and  yellow — survive.  The  entab- 
lature and  roof  were  of  wood  throughout. 

Prytaneum  (Town-hall),  X.AV.  from 
the  Altis,  between  the  north  gate  and 
the  Ilera^um.  Tlie  ground  plan  shows 
indications  of  two  courts  surrounded  by 
porticoes  and  rooms  of  different  sizes. 
On  the  south  side  there  seems  to  have 
been  a  Doric  jjortieo  114  ft.  long.  In  the 
iiuun  axis  of  the  building,  near   the  en- 


2S4 


OLYMI'IA 


tnince,  Avas  the  national  altar  nf  llcstia 
(Vesta)  ill  a  small  chajtcl.  'I'lir  ruius  were 
overturued  and  reiiiodoUed  in  Roman 
times  and  later.  The  I'rytaneuin  dated 
from  the  best  epocli  of  Olympia.  Ahiin- 
daiit  remains  of  cooking  and  table  utensils 
were  found  among  the  ruius. 

Sorxii  Stoa,  south  of  the  Altis,  a 
building  of  the  Eoiiuin  jjeriod,  intended 
for  the  use  of  spectatoi's  of  tlie  grand  pro- 
cessions, or  for  jjurjioses  of  lodging  or  busi- 
ness. It  was  a  rectangle,  about  202  ft.  by 
42  ft.,  closed  on  the  north  side  by  a  wall, 
the  roof  supported  on  the  other  sides  by 
a  Doric  order  on  a  stylobate  of  three  steps, 
with  thirty-three  columns  in  front  and 
six  on  each  flank,  the  interior  divided 
longitudinally  by  a  row  of  seventeen  Co- 
rinthian columns  of  sandstone.  The  outer 
columns  are  of  Poros  stone  and  the  steps, 
which  have  an  elaborate  profile,  of  white 
limestone.  Most  of  the  parts  of  this 
building  lie  where  they  fell,  so  that  it 
could  easily  be  restored. 

Southeast  Stoa,  occupying  the  S.  E. 
corner  of  the  Altis.  Its  front  lay  a  little 
back  of  the  line  of  that  of  the  Echo  Stoa, 
built  during  the  same  Macedonian  pe- 
riod. The  Southeast  Stoa  was  of  Doric 
order,  with  nineteen  columns  on  the 
front  and  eight  on  both  north  and  south 
sides,  and  enclosed  four  rooms,  the  east 
side  being  closed  by  a  plain  wall.  The 
cornice  has  the  same  ornament  as  that  of 
the  Echo  Stoa.  The  material  is  Poros 
stone,  the  columns  and  entablature  were 
coated  with  fine  stucco. 

Soi'TinvEST  BriLDiXH,  without  the 
Altis.  A  quadrangle  2(53  ft.  by  241  ft., 
with  one  hundred  and  thirty-eight  exte- 
rior Ionic  columns  (thirty-seven  on  east 
and  west,  thirty-four  on  north  and  south), 
forming  a  continuous  portico,  18  ft.  wide, 
about  a  series  of  halls  and  rooms  of  vari- 
ous sizes  ;  within  these  was  a  second  por- 
tico of  about  the  same  width,  with  twelve 
Doric  columns  on  each  side,  surrounding 
an  inner  court  97  ft.  square.     This  court 


was  divided  into  geometrical  llower-beds 
and  water  -  basins,  and  was  doubtless 
adorned  with  statues.  Water,  introduced 
in  pijjcs  on  the  north  and  east  sides,  flowed 
out  through  a  conduit  on  the  south  side. 
The  building  shows  two  architectural  pe- 
riods, the  original  Greek,  of  the  iv  cent. 
B.C.,  and  a  Eomaii  rearrangement. 

Stoa  of  the  Echo,  called  also  Stoa 
Poikile  (painted  porch),  doubtless  from 
paintings  on  its  inner  wall.  The  building 
was  of  the  Macedonian  period,  erected  on 
the  site  of  an  older  structure.  It  was  a 
rectangle,  320  ft.  by  39  ft.  ;  the  east  side 
and  ends  closed  liy  a  wall,  with  forty-four 
columns  in  front  and  two  antaj  on  a  sty- 
lobate of  three  steps  of  Parian  marble. 
The  interior  was  divided  into  two  long 
galleries  by  a  range  of  columns  through 
the  centre.  Pliny  says  it  was  known  as 
the  Ileptaplionon  (seven-voiced)  because 
it  re-echoed  seven  times.  The  roof  was 
of  wood  ;  and  there  are  indications  that 
it  was  ill  a  single  sjian,  with  no  support 
between  the  wall  and  the  exterior  portico. 

Stadium,  without  the  Altis.  The 
length  of  the  course,  from  starting  to 
finishing  lines,  was  G30  ft.  9|  in.  ;  breadth 
at  the  west  end,  94  ft.,  at  the  east 
end,  97  ft.  From  the  measurement  of 
its  length  was  obtained  the  exact  Olympic 
foot,  which  is  just  one  six-hundredth  of  it, 
or  1.05  ft.  The  surrounding  seats  were 
sustained  by  a  retaining  wall  of  Poros 
stone,  except  on  the  north  side,  which 
rests  uj^on  Mt.  Kronios.  The  judges' 
and  athletes'  entrance  was  a  regularly 
vaulted  passage  -  way  through  the  west 
wall  of  the  stadium,  with  a  portico  at  the 
west  entrance  consisting  of  four  Ionic 
columns,  two  outer  ones  engaged  and  con- 
nected with  the  inner  ones  by  a  low  wall. 

Stuiho  of  Phidias.  See  Byzantina 
Churvli. 

Temple  of  Philip,  or  the  Philippeum, 
probably  erected  by  Alexander  the  Great, 
in  memory  of  his  father,  Philip  of  Mace- 
don,  and  of  the  battle  of  Chisronea.     It 


255 


OLYMPIA 


was  Ionic,  circular,  with  eighteen  coluiiius 
on  a  stylobate  of  four  stejis  of  Pentelic 
marble  ;  the  whole  diameter  50  ft.  The 
columns,  with  twenty-four  flutes,  were  of 
Poros  stone  ;  the  sculptured  cornice  and 
ceiling  of  the  peripteros,  of  marble.  The 
interior  was  decorated  with  twelve  Corin- 
thian engaged  semi-i'ohmins  of  Poros,  and 
contained  statues  in  gold  and  ivory  of 
Philip.  Alexander,  Amyntas.  Olyiiqiios, 
and  Eurydice  ;  of  several  of  these  statues 
the  pedestals  have  been  found.  The  roof 
was  probably  covered  with  tiles  of  earth- 
enware, and  was  surmounted  by  a  bronze 
poppy -head.  This  building  was  long 
considered  one  of  the  earliest  circular 
Greek  edifices  surrounded  by  columns; 
but  the  Tholos  of  Polycletus  at  Epidau- 
ros,  recently  explored  by  the  Archajologi- 
cal  Society  of  Athens,  is  almost  a  century 
older. 

Temple  of  Zets  Olympios  (the 
Olympian  Jove),  or  Olympieum,  within 
the  Altis,  upon  a  terrace.  An  ancient 
temple  had  stood  on  the  site,  but  after  the 
conquest  of  Pisa  (573  B.C.)  the  Eleians 
devoted  the  spoils  to  the  erection  of  a 
new  and  magnificent  building.  The  ar- 
chitect was  Libon  ;  and  the  temple  was 
not  finished  until  much  more  than  a  cen- 
tury afterward.  It  contained  the  famous 
chryselephantine  statue  of  Zeus,  the  mas- 
terpiece of  Phidias.  It  has  been  exca- 
vated jiartly  by  the  French  under  Blouet, 
in  1831,  completely  by  the  Germans  in 
1875-70,  the  remains  being  under  four- 
teen feet  of  alluvium.  The  temple  was 
Doric,  hexastyle,  peripteral,  with  thirteen 
columns  on  flanks  and  two  between  anta? 
in  jironaos  and  op'isthodonios  ;  the  ground- 
plan,  '^'lO  ft.  by  90  ft.,  measured  on  ujijier 
step  of  stylobate  ;  the  cella  (exterior),  152 
ft.  by  b'i^  ft.  The  cella  is  divided  longi- 
tudinally into  three  aisles  by  two  rows  of 
seven  columns  each  ;  at  the  west  end  of 
the  central  aisle,  dO  ft.  wide,  stood  the 
statue  of  Zeus,  40  ft.  high.  The  col- 
umns, on  a  stylobate  of  three  steps,  had  a 


diameter  at  base  of  7  ft.  4  in.  and  height 
of  34  ft.  3  in.  ;  intei'columniation,  centre 
to  centre,  17  ft.  The  height  of  the  build- 
ing to  the  top  of  the  entablature  was  53 
ft.,  to  apex  of  jjediment,  (J(J  ft.,  width  of 
cella  door,  15  ft.  !t  in.  Material,  lime- 
stone overlaid  with  fine  stucco  ;  roof,  a 
wooden  frame,  covered  with  tiles,  which, 
like  the  cornice,  were  of  Parian  marl}le. 
The  floor  of  the  pronaos  contained  a  fine 
Greek  mosaic  representing  Tritons.  The 
pediments  were  filled  witli  sculptures  as- 
cribed respectively  to  Pa^onius  and  Alca- 
menes.  The  acroteria  wore  of  bronze,  a 
Victory  upon  the  apex  of  the  east  front, 
and  great  tripods  at  the  angles. 

The  sculjitures  in  the  east  pediment 
represented  the  contest  for  Hippodameia 
between  Ocnomaus  and  Pelops  ;  those  in 
the  west  pediment  the  fight  between  the 
Centaurs  and  Lapiths.  Zeus  occupied 
the  central  place  in  the  former  scene, 
Apollo  in  the  latter.  The  twelve  metopes 
of  the  inner  friezes  over  the  pronaos  and 
opisthodomos  2)orticoes  were  carved  with 
the  twelve  Labors  of  Hercules. 

Theocoleum,  a  group  of  buildings  for 
the  use  of  the  Theokoloi  or  priests  who 
superintended  the  sacrifices  immediately 
without  the  Altis.  The  original  building 
was  ()1|  ft.  scpiarc.  witli  a  centi'al  court  of 
about  23  ft.  square,  surrounded  by  eight 
rooms.  About  the  court  was  a  Doric  2)or- 
tico,  witli  an  entablature  resembling  the 
Ionic.  Tliis  portion  of  the  group  dates 
probably  from  the  iv  cent.  B.C.,  and  rests 
diuibtlc'ss  upon  older  foundations.  Later, 
the  building  was  enlarged  by  the  addition 
of  three  rooms  on  the  east  side  ;  and. 
finallv,  in  Roman  times,  a  much  larger 
quadrangle  was  added  on  the  east  side, 
consisting  of  a  number  of  rooms  suiTound- 
ing  a  spacious  portico  with  a  large  court 
in  the  middle. 

The  Tkeastries  of  various  cities  occu- 
pied a  terrace  on  the  northern  edge  of  the 
Altis.  which  it  overlooked,  and  beneath 
Mt.  I\ronios.     Access  to  the  terrace  was 


(ti;(  llo.MKXOS 


afTcinled  by  steps  of  Poros  stone.  Beliiiid 
the  terrace  was  a  massive  retaining-wall, 
to  resist  eueroaehmeiit  of  earth  waslied 
from  above.  Tlie  treasuries  extended  in 
a  row  from  the  exedra  of  Ilerodes  At- 
ticus  to  the  stadium.  The  remains  of 
twelve  have  been  recognized.  Tliey  were 
of  widely  different  periods  and  architect- 
ure, but  most  were  iu  the  form  of  a  small 
Doric  cella  in  antis.  Many  of  them  were 
adorned  with  very  beautiful  terra-cotta 
cornice-  and  roof-ornaments.  In  the 
treasuries  were  stored,  by  the  founding 
cities,  splendid  gifts  and  votive  offerings  to 
Olympian  Zeus.  The  Treasury  of  Gela, 
the  most  easterly  of  all,  next  to  the  sta- 
dium, wiis  Doric,  hexastyle,  aiul  jirostyle. 
It  is  conjectured  tliat  the  interior  of  the 
cella  was  surrounded  on  three  sides  l\v 
columns.  The  stone  cornice  was  en- 
crusted in  the  ancient  Sicilian  fashion 
with  terra-cotta  tiles,  fastened  with  iron 
nails,  and  very  elaborately  and  beautifully 
painted  with  designs  in  black  and  deep 
red  upon  a  yellow  ground.  The  terra- 
cotta roofing  is  also  interesting,  and  the 
ornamented  crest-tiles  are  of  novel  design. 
The  building  was  probably  founded  dur- 
ing the  first  half  of  the  vi  century  B.C. 
Materials  exist  for  an  almost  complete 
restoration.  That  of  Megara.  built  in 
the  second  half  of  the  vi  cent.  is.c.  from 
Corinthian  booty,  was  a  Doric  temple  in 
anfi-f.  The  tymiianum  of  the  pediment 
(19  ft.  2  in.  by  2  ft.  o  in.)  contained 
twelve  figures  in  relief — a  recumbent  fig- 
ure at  each  extremity  and  five  couples 
of  combatants — representing  the  contest 
between  the  Gods  and  the  Giants.  The 
remains  of  these  sculptures  are  of  im- 
portance as  being  highly  archaic.  That 
of  iletapontum  Selinus  and  Megara  was 
one  of  the  oldest  of  the  treasuries.  Little 
remains  except  scanty  portions  of  the 
foundation  and  fragments  of  the  rosette- 
shaped  anthemia  of  the  terra-cotta  crest- 
tiles  of  the  roof. 

TiarjiPH.A^L  Arch  (Roman)  in  the  line 


(if  the  south  Altis  wail,  between  the  Hou- 
leuterion  aiul  the  Southeast  Stoa.  It  w;is 
of  considerable  size,  with  three  arched 
openings,  and  doubtless  presented  exter- 
nally an  appearance  of  magnificence.  Like 
the  Palace  of  Nero,  however,  it  was  very 
hastily,  even  temporarily,  built  of  bases  of 
statues,  architectural  fragments,  and  what- 
ever came  first  to  hand.  There  is  no 
doubt  that  it  was  constructed  to  form  a 
fitting  entrance  to  the  .sacred  enclosure 
for  Xero. 
ORCHOMEXOS,  Bwotia,  Greece. 

Treasury  of  Mixy.^s,  so-called,  con- 
sidered even  in  classical  times  as  a  highly 
remarkable  monument.  The  structure  is 
of  conical  or  beehive  form,  with  an  in- 
terior diameter  of  40  ft.  The  walls  are 
built  in  horizontal  courses  of  stone  lilocks 
corbelled  out,  each  course  beyond  the  next 
below  it,  the  whole  interior  being  hewn 
to  a  domical  shape.  They  were  studded 
with  rosettes  of  metal.  Li  the  middle  of 
the  floor  was  a  large  pedestal  of  much 
later  date,  which  probably  bore  a  grou])  of 
statues.  On  the  right-hand  side  a  door- 
way about  7  ft.  high  leads  into  a  smaller 
chamber  hcvra  from  the  rock,  presumably 
the  grave  -  chamber  proper  of  this  old 
funeral  monument,  erroneously  styled  a 
treasury.  The  walls  of  this  chamber 
were  revetted  with  marble  slabs  carved 
like  the  green  schist  blocks  of  tlio  roof, 
with  an  elaborate  and  graceful  tapestry- 
pattern  of  ilycenajan  spirals  and  rosettes. 
The  entrance  from  without  is  by  a  door- 
way 18  ft.  high,  between  inclined  side- 
walls  of  grayish  -  blue  marble,  opening 
upon  an  uncovered  jmssage  or  dronios  16 
ft.  9  in.  wide.  The  door-passage  of  the 
tholos  is  8  ft.  2  in.  wide  at  the  top,  and 
9  ft.  wide  at  the  bottom,  its  lintel  being 
formed  by  a  mighty  block  of  gray-blue 
marble  IG  ft.  G  in.  long.  The  double 
doors,  for  which  the  grooves  and  hinge- 
holes  remain,  were  j)robably  of  bronze. 
This  treasury  was  excavated  liy  Dr. 
Schliemann  in  1880-81  and  1880. 


257 


ORFA 


ORFA.     See  Edemi. 
OKOPOS.  Attica,  (irceop. 

St(i.v,  about  "-iJO  ft.  to  tlie  eastward  of 
the  temple  of  Aiiiphiaraos.  It  has  been 
excavated  to  a  length  of  about  11-i  ft., 
but  its  full  dimensions  are  as  yet  un- 
known. Its  southern  side  was  occupied 
by  a  range  of  Hellenistic  Doric  columns. 
and  its  interior  walls  were  skirted  by  a 
continuous  series  of  inscribed  marble 
benches. 

The  Temi'i.i:  of  AMriii.vuAOS,  called 
the  Amphiareum.  distant  from  the  city 
about  twelve  sta<lia.  or  a  mile  and  a  half, 
was  a  Doric  building  with  six  columns 
between  antie  terminating  in  semi-col- 
uanis.  resting  on  a  stylobate  of  three 
steps.  'I'iie  interior  was  divided  iuto 
tliree  parts  by  two  rows  of  live  un- 
iiuted  columns  ;  and  from  the  rear  of  the 
temple  there  projected  a  small  quadran- 
gular extension — probably  tlie  (idyfiim  or 
seat  of  the  oracle.  In  the  middle  of  the 
interior  was  a  large  rectangular  base  or 
altar.  Over  the  jiroiiaos  there  was  a 
Doric  entablature  and  j)ediment  of  ordi- 
nary form,  the  cornice  above  being  con- 
tinued on  the  flanks  of  the  temple.  The 
architectural  forms  fix  the  date  of  con- 
struction as  in  the  Macedonian  or  the 
early  Koman  epoch.  The  statue  was  of 
white  marble.  The  building  has  been  in 
great  part  destroyed  by  the  overlhjwing  of 
the  neighboring  torrent. 

TllEATHK.  behind  the  Stoa.  of  small 
size,  but  architecturally  important.  The 
foundations  of  tlie  stage-structure  survive, 
with  some  of  the  superstructure.  Eight 
pillars,  finished  in  front  with  semi-col- 
umns, appear  to  have  formed  sujiports  for 
the  scenery.  The  auditorium  is  in  great 
part  destroyed  ;  five  thrones,  however,  re- 
main from  a  row  of  seats  of  honor. 
ORVIETO.  Italy. 

The  Cathkduai.  is  one  of  the  most 
familiar  and  ceiei)ratcd  exami)les  of  the 
Italian  (intiiic  of  the  xiii  and  xiv  centu- 
ries.    It    is   commonly    ranked  with    the 


cathedi'al  of  Siena,  with  which  it  is  near- 
ly contemjiorary,  because  of  the  similar 
outline  of  its  front.  The  church  is  cruci- 
form, with  a  length  of  about  290  ft.,  and  a 
breadth  of  about  100  ft.,  the  transept  not 
projecting.  Its  nave  is  broad,  and  is  sep- 
arated fi'om  the  aisles  by  five  round  piers 
on  each  side,  with  low  foliated  capitals 
supporting  simple  i"ound  arches.  In  fimit 
of  each  of  the  nave  piers  stands  a  colossal 
marble  statue  of  one  of  the  Apostles,  on  a 
high  pedestal.  Above  the  arcades  runs  a 
narrow  jirojecting  gallery  with  quatrefoil 
panels,  supjiorted  on  small  consoles,  but 
no  triforium.  The  clerestory  is  high  and 
is  pierced  with  a  single  tall  pointed  win- 
dow over  each  of  the  nave  arches.  From 
tlie  wall  of  each  aisle  project  live  small 
round  ajjses.  used  as  chajjels,  and  between 
them  ai'c  tall  pointed  two-light  windows 
with  simple  tracery  in  the  heads  tilled 
with  stained  glass.  The  square  of  the 
crossing  is  nuirked  by  clustered  jjiers, 
from  which  transverse  arches  ai'c  thrown 
acro.ss  the  nave,  transept,  and  clinii-.  The 
clioir  is  rectangular,  and  is  lighted  by  a 
tall  pointed  two-light  window  with  simple 
tracery,  and  covered,  like  the  square  of  the 
crossing,  by  a  simjjle  four-part  vault,  the 
other  portions  of  the  church  having  open 
wooden  roofs.  The  walls  and  piers 
throughout  are  banded  in  black  and  white 
marble.  Opening  from  each  transept  arm 
is  a  large  rectangular  chapel,  of  which  the 
southern,  dedicated  to  the  Madonna  di  S. 
Brizio.  contains  on  the  walls  and  ceiling 
some  of  the  most  admirable  frescoes  of 
Fra  Angelico  and  Luca  Signorelli.  The 
exterior  is.  with  the  exception  of  the  front, 
lianded  like  the  interior  in  white  and 
black  marble.  The  aisle  walls  show  the 
five  projecting  apses  on  each  side,  deco- 
rated with  slender  engaged  shafts  ending 
in  arched  corbel-tables,  and  covered  by 
conical  roofs  just  under  tlie  cornice  of  the 
aisle.  'I'lic  clerestory  wall  is  also  divided 
by  sk'iider  shafts,  each  bay  containing  a 
single  tall   pointed-arched  wiiulow.     The 

S58 


ORVIETO 


transei:)t  and  east  end  are  hare.     'I'he  fa- 
9ade  is  one  of   the  most   remarkal)I('   in 
Italy.     It  is  of  white  marble,  in  tliree  di- 
visions,   corresponding   in  width    to   the 
nave  and  aisles,  but  entirely  belyini;  their 
outline,  separated  and  flanked  by 
strong  square  buttresses,  their  faces 
decorated  with  long  traceried  pan- 
els, rising  through  the  front  and 
terminating  above  the  roofs  in  mas- 
sive crocketed  pinnacles.     At  the 
base  of  each  of  the  three  divisions 
is  a  deeply  splayed  doorway,  that 
in  the  middle  round-arched,  those 
at  the  sides  pointed,  but  all  deco- 
rated with  delicate  twisted  jamb- 
shafts  and   arch -mouldings,    and 
surrounded    by   bauds   of    mosaic. 
The  arche?  are  covered  by  high  ga- 
bles with  crockets  and  flnials.     A 
slight  and  graceful  arcaded  gallery, 
with  cusped  round  arches  carried 
on  pilasters  and  covered  by  galdes. 
crosses  the  front  above  the  dooi'- 
ways.     Over  this  gallery  the  wall 
space  of  the  central  division  is  oc- 
cujjied  by  a  fine  traceried  rose  win- 
dow with  decorated  border  and 
spandrels  of  mosaic,  set  in  a  square 
of  small  quatrefoil  panels  enclosing 
heads  in  high  relief,  and  enclosed       """" 
on  the  sides  and  above  by  ranges 
of  niches  containing  statues,  single  and 
in  groups.    The  three  divisions  are  each 
terminated    by   a   high    crocketed   gable. 
But    the    characteristic    feature    of    this 
fa(;ade  is  its  decoration.     The  great  piers 
between  the  doorways,  and  those  at  the 
angle  of  the   front,    are   covered    with   a 
network    of    branching    vines,    enclosing 
crowded  figure   sculjitures  of  great  deli- 
cacy by  Giovanni  da  Pisa  and  other  pu- 
pils of  Xiccolo  Pisano.     The  hollows  of 
the   spiral   shafts   of  the  great  doorways 
are  filled  with  mosaics  in  geometrical  pat- 
terns ;  a  triple  band  of  the  same  charac- 
ter surrounds  tlie  opening  of  the  central 
doorway  ;  the  gables,  the  rose  window,  and 


other  prominent  features  of  the  front  are 
outlined  in  a  similar  manner,  while  the 
gables  themselves,  both  those  of  the  door- 
ways and  those  terminating  the  facade, 
and  the  whole  of  the  wall  space  above  the 


ill 


tun 


Fi?.  130, — Ofvieto,  Cathedral,  Central   Gable. 

doorway  arches,  are  entirely  covered  with 
pictured  mosaics  on  a  gold  ground,  and  of 
admirable  workmanship.  The  whole  front 
has  since  1880  undergone  a  complete  res- 
toration. It  has  little  logical  connection 
with  the  church  behind  it.  but  is  a  mere 
architectural  frontispiece,  of  which  the 
central  gable  is  -10  ft.  or  more  above  the 
nave  roof,  and  the  side  gables  are  perhaps 
twice  as  high  as  the  roofs  of  the  aisles  be- 
hind them  ;  but  as  an  independent  archi- 
tectural composition,  whose  keynote  is  its 
polychrome  decoration,  it  is  without  a 
rival.  The  cathedral  replaces  an  older 
one  known  as  the  Madonna  di  S.  Brizio, 
and  was  built  to  commemorate  the  mira- 


259 


OSTIA 


cle  of  Bolsenn.  The  corner  stone  \v:is 
laid  by  XicliolasIV.  in  1:J90,  and  tlie  first 
mass  said  in  tlie  church  in  1298.  The 
faij'ade  was  not  begun  till  1310,  and  the 
decoration  of  it  was  continued  through 
most  of  the  xiv  century.     (<SVr  Fig.  IJO.) 

Palazzo  Comminale.  This  building, 
now  much  injured,  is  notwithstanding 
one  of  the  most  interesting  examples  of 
the  Italian  town-halls  of  the  xiii  cen- 
tury. It  is  a  rectangular  building  about 
60  ft.  deep,  with  two  fronts  about  120  ft. 
long,  standing  on  what  was  an  open  arcade. 
On  one  front  the  arcade  is  still  o])cn,  con- 
sisting of  great  round  arches  springing 
from  massive  square  stone  piers  with  half- 
columns  on  the  jambs,  the  arch  surround- 
ed by  a  plain  archivolt.  Over  an  arched 
corbel-table  stands  a  range  of  two-light 
windows,  divided  by  columns  under  round 
bearing-arches.  Of  the  opposite  front, 
which  was  probably  the  principal  one,  the 
lower  arcade  is  now  walled  up.  The  sec- 
ond-story windows  are  six  in  number  and 
of  beautiful  design,  with  mullion-shafts 
and  traceried  heads  under  round  arches, 
enclosed  in  a  liroad  band  of  denticulated 
ornament,  with  a  decorated  label  and  im- 
post moulding.  Above,  in  the  flat  wall,  is 
a  row  of  small  segmental  arched  windows, 
and  at  the  top  a  line  of  forked  battle- 
ments. 

S.  Andrea  was  originally  a  basilica! 
church,  consecrated,  as  an  inscription  tells 
us,  in  1013  by  Benedict  VIII.,  having 
been  restored  in  '.»;;',  Its  interior  is  very 
symmetrical  :  lour  slender  granite  col- 
umns on  each  side  support  wide  round 
arches  and  have  capitals  all  carved  alike 
i7\  an  elegant  semi-Innic  style.  Botli  nave 
and  aisles  arc  covered  with  a  wooden  roof. 
Late  in  the  xiii  cent,  or  early  in  the  Xiv 
the  two  bays  of  the  transept  and  the 
square  apse  were  adiled  in  a  semi-Gothic 
style,  with  richly  moulded  piers  and 
arches,  even  more  advanced  than  at  Fos- 
sanova  and  the  episcopal  palace  in  Orvi- 
cto  itself.     The  peculiar  use  of  vaulting 


here  is  an  interesting  sign  (like  the  at- 
tempt made  at  S.  Sisto  in  Viterbo)  of  the 
efforts  of  Italian  architects  at  this  time  to 
adojjt  vaulting  in  place  of  the  wooden 
roof.  In  the  small  space  of  this  transept 
three  different  kinds  of  vaulting  are  used  : 
the  ribbed  cross-vault  over  the  further 
bay  of  the  aisles  of  the  transept  on  each 
side,  the  semi -dome  over  the  two  bays 
of  the  nave,  and  the  dome  over  the  bay 
of  each  transept  adjoining  the  nave.  A 
fourth  variety,  the  tunnel-vault,  appears 
alongside  in  the  square  apse,  but  is  likely 
to  lie  modern.  At  all  events,  both  nave 
and  tran.sept  are  unusuallv  worthv  of 
studv.  [A.  L.  F,,Jr.] 
OSTIA.  Italy. 

]\IiTiiK.ErM,  or  Shrine  of  Mithras,  the 
Unconquered,  a  solar  deity  of  Persian  ori- 
gin. In  plan  it  is  rectangular,  about  17 
ft.  by  (15  ft.,  with  two  narrow  entrances, 
raised  steps  for  seats  at  the  sides,  and  an 
altar  with  an  inscription  of  dedication. 
Close  by,  near  the  Torre  Bovacciana,  lies 
an  important  ancient  dwelling,  with  a 
large  open  court  and  richly  ornamented 
rooms,  handsome  pavements  in  mosaic, 
and  a  bath. 

Roman  Theatre,  between  the  Porta 
Pomana  and  the  Forum.  It  was  built  by 
Agrijipa  in  his  third  consulship,  2T  i'..i'.. 
and  restored  by  Septimius  Severus  aiul 
Caracalla.  It  is  mentioned  in  the  Acts  of 
Sts.  Cyriacus,  Maximus,  and  Archelaus, 
who  are  said  to  have  suffered  martyrdom 
near  it.  The  existing  remains,  mostly  of 
brick  and  reticulated  masonry,  date  chief- 
ly from  a  shabby  restoration  of  the  v  cen- 
tury. 

Temi'li:  of  Jt'i'iTEH,  so-called,  the 
most  conspicuous  relic  of  anti(piity  on  the 
site.  It  consists  of  a  lofty  cella  in  excel- 
lent preservation,  standing  at  tlie  head  of 
a  paved  street  about  500  ft.  long,  leading 
straight  from  the  river  bank.  The  cella 
rises  from  a  vaulted  basement,  and  had  in 
front  a  fine  flight  of  marble  steps  leading 
up  to  the  portico  of  marble  ami  granite. 


OTRANTO 


It  is  built  of  brick,  uiid  \v;is  oncrusted  out- 
side and  in  with  marble.  There  are  in 
the  interior  three  niches  and  a  base  for 
statues.  The  temjile  court,  about  DO  ft. 
bv  ■■-'()()  ft.,  was  surrounded  bv  colonnades. 
OTRANTO,  Italy. 

C.\.THEDRAL  (Sta.  ilaria  Annunziata), 
an  ancient  basilica,  whose  foundation 
dates  from  the  end  of  the  vi  cent., 
but  changed  by  repeated  rehuildings  in 
the  VIII,  X,  and  Xi  centuries.  Its  nave 
and  aisles  are  separated  by  arcades  of  six 
round  arclies  each,  springing  from  col- 
umns and  opening  into  a  continuous  tran- 
sept, with  three  apses  in  the  east  wall 
corresponding  to  the  nave  and  aisles. 
The  nave  and  aisles  are  floored  with  a 
remarkable  mosaic  pavement,  with  figures 
of  men,  beasts,  and  foliage  in  red,  black, 
and  green  marbles  on  a  white  ground. 
This  pavement  was  much  injured  by  the 
trampling  of  the  Turkish  horses  during 
the  Saracenic  occupation  of  Otranto  in 
1-180.  A  fine  crypt  under  the  transept 
and  apses  is  divided  into  nine  aisles 
lengthwise  and  five  crosswise  by  round 
arches  on  granite  and  marble  columns, 
with  capitals  of  various  design — antique, 
Lombard.  Byzantine  —  and  with  promi- 
nent stilt  -  blocks,  supporting  a  groined 
vaulting. 
OTRICOLI  (anc.  Ocriculum),  Italy. 

The  ancient  remains  are  of  considerable 
importance.  The  chief  of  them  is  the 
Amphitheatre,  whose  axes  are  148  ft.  and 
220  ft.  It  is  estimated  that  it  could  re- 
ceive fourteen  thousand  spectators.  The 
Basilica  has  an  apse,  and  is  divided  into 
nave  and  aisles  by  ranges  of  columns,  the 
central  space  being  almost  square  ;  it  ex- 
hibits vaulted  corridors  on  three  sides. 
In  the  Therm:^  Avas  found  the  ])eautiful 
mosaic  of  the  Sala  Rotonda  of  the  Vati- 
can, where  is  placed  also  the  celebrated 
bust  of  Jupiter  found  at  Otricoli.  Fur- 
tlier  east  appears  the  theatre,  217  ft.  in 
diameter,  and  abundant  remains  of  pri- 
vate dwellings. 


PADUA  (Padova,  Padoue),  Italy. 

The  Arexa  Chapel.  This  famous  lit- 
tle building,  inseparably  associated  with 
the  name  and  fame  of  (Jiotto,  is  of  the 
simplest  design,  an  oblong  rectangle,  with 
high  side  walls  divided  by  flat  pilasters, 
the  south  wall  jjierced  with  six  small  win- 
dows, a  west  front  with  a  gable  of  medium 
height  and  an  archeil  corbel-table  follow- 
ing its  rake,  a  square  dciorway  with  a 
round  bearing  -  areh.  and  a  three-light 
window  above.  The  east  end  has  a  simjile 
apsidal  chancel,  and  the  north  side,  which 
has  no  windows,  a  small  sacristy.  The 
interior  is  as  simj)le  as  the  exterior.  Side 
walls  and  vault  are  one  surface,  unbroken 
by  cornice  or  string-course.  The  chancel 
is  divided  from  the  nave  by  a  marble 
screen  with  an  altar  set  against  it  on  either 
side,  and  the  apse  has  a  range  of  canopied 
seats  around  the  circular  wall.  The 
whole  interest  is  in  the  authentic  series  of 
frescoes  by  Giotto,  covering  walls  and  ceil- 
ings, which  are  among  the  most  admirable 
of  his  works.  The  chapel  was  built  in 
131)3,  and  the  work  of  the  painter  was  be- 
gun in  the  following  year.  The  pictures 
consist  of  subjects  from  the  lives  of  the  Vir- 
gin and  Jesus,  of  representations  of  the  vir- 
tues and  vices,  aiul  on  the  vaulted  ceiling  of 
medallions  with  figures  on  a  golil  ground. 

The  Baptistery  is  a  small  Lombard 
building  of  peculiar  plan,  dating  from  the 
XII  cent.,  consisting  of  a  cubical  mass 
with  fiilaster-strips  at  the  angles  and  plain 
narrow  round-headed  windows,  out  of 
which  rises  a  cylindrical  tower,  its  diam- 
eter nearly  equalling  the  Itreadth  of  tlie 
square  below,  in  two  blind  stories,  the 
wall  surface  decorated  witii  ])ilaster-strips 
and  arcaded  cornices  in  both  stories. 
From  the  eastern  side  open  three  round 
arclies,  the  larger  central  one  into  a  semi- 
circular apse  with  an  altar,  the  side  arches, 
one  into  a  sacristy,  the  other  into  a  small 
open  porch.  The  upper  story  of  the 
tower  under  the  flat  roof  is  finished  with- 
in as  a  dome. 


rADCA 


Tlie  C'atiikiikai,  isa  RenaissaiU'e  eliun-li 
of  110  marked  iniimrtaiice,  in  spite  of  the 
couiieutioii  with  it  of  the  great  name  of 
Aliehael  Aiijjeio.  It  is  ehiiined  that  tlie 
elioir,  wliich  was  begun  in  l.").'.-.'.  was 
built  from  his  design  by  tlie  aruhiteets 
Andrea  della  Valle  and  Agostino  Righetto. 
It  is  a  cruciform  church  with  a  great 
tumiel-vaulted  nave  about  40  ft.  wide, 
aisles  witii  chapels  and  domed  bays,  a 
greater  and  smaller  transept,  the  former 
ending  in  apses  both  to  north  and  south, 
an  apsidal  choir,  and  a  dome  at  each 
crossing.  The  work  on  the  church  was 
prolonged  as  late  as  the  XTiii  cent.,  and 
the  interior  is  in  a  late  and  corrupt  Italian 
style.    The  exterior  is  of  brick,  unfinished. 

Eremitani.     See  S.  AgoKfino. 

Loggia  del  Consiglio  (Council-hall). 
a  beautiful  Renaissance  building  dating 
from  the  end  of  the  xv  cent.,  built  from 
the  designs  of  Biagio  Rossetti.  It  has  a 
fine  facade  of  two  stories  ;  the  lower  an 
open  vaulted  loggia  with  seven  high  round 
arches  springing  from  tall  Composite  col- 
umns which  stand  on  pedestals  connected 
by  a  balustrade  and  carry  a  light  entabla- 
ture. Above  this  the  wall  is  triply  divid- 
ed by  flat  Corinthian  pilasters  carrying  a 
second  entablature.  In  each  division  is  a 
round-arched  grouped  window,  the  middle 
one  triple,  the  others  double,  divided  by 
columns.  The  building  stands  on  a  high 
basement  with  broad  steps  before  the 
three  middle  openings  of  the  lower  story. 
The  great  hall  is  now  dilapidated  and  the 
building  is  used  as  a  military  post. 

I'ai.azzo  dklla  Ra(;ioxe  (Town-hall). 
a  remarkable  example  of  the  later  class  of 
Italian  public  halls,  and  one  of  the  largest 
of  its  class.  The  building  has  a  curved 
roof  covered  with  metal  and  hi])i)ed  from 
the  four  corners,  and  two  stories  of  ar- 
cades surrounding  its  outer  walls,  of  which 
the  upper  portion,  com])rising  perhaps  a 
third  of  their  height,  above  the  upper  ar- 
cade, is  divided  by  fiat  pilasters  under  the 
arcaded   cornice,    and   crowned   by  rpiasi 


baltleiiients  like  those  in  the  Ducal  Palace 
at  Venice.  The  arcades  consist  in  each 
story  of  round  arches  carried  on  slender 
columns — the  second  story  having  two 
arches  to  one  below,  the  construction 
throughout  very  slight,  and  requiring 
iron  tie-rods  to  insure  its  safety.  In  the 
street  story,  six  rows  of  wall -piers  and 
arches  support  the  floor  of  the  great  hall, 
which  is  on  a  level  with  the  second  arcade 
and  is  entered  from  it,  the  arcade  being 
reached  by  four  external  staircases.  There 
is  little  design  in  the  interior,  the  windows 
being  inconspicuous  and  the  walls  divided 
into  arched  panels  filled  with  ancient  fres- 
coes, some  of  which  are  claimed  to  be  the 
work  of  Giotto.  The  famous  feature  is 
the  grc.it  roof,  which  consists  of  immeiuse 
timber  arches,  pointed,  the  crown  of  the 
arch  78  ft.  above  the  floor,  and  without 
tic-beams  or  other  provision  for  resisting 
the  thrust  than  two  lines  of  iron  rods. 
Light  is  admitted  only  through  small 
dormers,  which,  as  the  windows  of  the  hall 
are  low,  are  insufficient  for  so  great  a  space. 
The  building  was  finished  in  l"^8-4,  the 
architect  being  Roccalica,  a  Paduan.  The 
story  goes  that  the  great  hall  was  origi- 
nally divided  into  three,  but  that  at  the 
beginning  of  the  xvi  cent,  an  Augustinian 
monk  called  Fra  Giovanni  built  the  great 
roof,  after  which  they  were  thrown  into 
one.  Its  dimensions  are  variously  stated, 
but  the  latest  measurements  (by  Jlothes) 
give  the  length  of  the  hall  as  about  '.\W 
ft.  and  its  breadth  nearly  80  ft. 

S.  A(;osTrxo  decuj  Eke.mitaxi.  The 
great  Augustinian  church  has  been  much 
changed  externally,  the  front  especially 
having  been  nearly  rebuilt  in  recent  times. 
The  east  end  is  least  altered,  presenting 
a  great  gable  divided  into  four  conqiart- 
inents  with  a  small  apse  in  the  centre  and 
lancet  windows  on  either  side.  A  square 
campanile  rises  from  the  north  wall.  The 
interior  has  an  immense  nave,  of  great 
breadth  and  nearly  300  ft.  long,  without 
aisles,  covered    with   a   tic-beam    roof   of 


PADUA 


low  pitch  with  a  cusped  and  l)oarde(l  ceil- 
ing. From  the  eastern  end  of  the  nave 
three  arches  ojien  into  tlic  choir  and  au 
aisle  on  either  side  of  it.  The  church  is 
extensively  decorated  with  early  frescoes, 
those  of  the  apse  by  Guariente,  and  those 
of  a  chapel  on  the  south  side  of  the  nave 
by  Mautegna  being  especially  noteworthy. 
The  church  was  built  near  the  end  of  the 
XIII  century. 

S.  AxTOXlo  (St.  Anthony) ,  a  remark- 
able church  of  singular  design,  to  which  it 
would  be  difficult,  from  its  character,  to  as- 
sign a  probable  date.  It  may  be  described 
as  a  Romanesque  church  about  liOO  ft. 
long  and  'JO  ft.  broad,  on  which  has  been 
grafted  the  Byzantine  system  of  roofing, 
with  a  result  which  is  not  on  the  whole 
satisfactory.  It  is  said  to  have  been  the 
work  of  Xiccolo  Pisano,  but  this  is  more 
than  doubtful.  Its  exterior  is  wholly 
of  brick  and  covered  with  a  strange  ag- 
glomeration of  domes  and  towers,  which, 
though  they  are  disposed  with  absolute 
symmetry  iis  regards  the  plan  of  the 
church,  produce  in  any  general  view  a 
confused  effect.  The  fa(;ade  presents  one 
great  gable  of  low  pitch,  its  slope  curiously 
broken,  but  not  defining  the  nave  and 
aisles,  crowned  by  a  slender  round  central 
turret  half  as  high  as  the  wall  below. 
The  first  story,  comprising  two-thirds  of 
the  front,  has  a  low  square  central  door- 
way under  a  round  arch  with  a  flat  niche 
over  it.  On  each  side  are  two  very  tall 
pointed-arched  recesses  of  unequal  width 
with  their  imposts  at  unequal  heights, 
the  outer  ones  enclosing  doors  and  win- 
dows. Above  the  arches  an  open  balus- 
traded  gallery  of  small  pointed  arches  on 
columns  crosses  the  entire  front  just 
under  the  gable.  On  the  side  walls  the 
windows,  some  round  -  arched  and  some 
pointed,  are  generally  coupled,  the  bays 
of  the  nave  defined  by  gables  and  divided 
by  flat  buttresses,  the  walls  finished  by 
arched  corbel-tables  ;  the  transept  arms, 
also   gabled  on   sides   and   end   and  but- 


tressed like  the  nave,  have  circular-headed 
windows.  From  the  roof  rises  a  line  of 
six  domes  of  various  heights,  over  the 
nave,  choir,  apse,  and  an  eastern  cha])el, 
flanked  by  two  over  the  transept.  The 
central  cupola  over  the  crossing  is  masked 
by  a  sharp  cone  rising  high  above  the 
neighboring  domes  and  crowned  by  a  cir- 
cular lantern  and  spire.  From  each  side 
of  the  choir  rises  a  lofty  and  slender  tower, 
which,  starting  from  a  square  base,  be- 
comes an  octagon  of  four  stories  with 
jjointed-arched  openings,  arcaded  string- 
courses, and  a  sharp  pyramidal  spire.  The 
piers  that  divide  the  two  great  bays  of  the 
nave  are  stayed  by  a  huge  ))uttress  thrown 
across  the  aisles  on  each  side  and  appear- 
ing outside  like  a  solid  wall.  The  archi- 
tecture obviously  belongs  to  several 
periods,  but  two  conspicuous  divisions 
clearly  assert  themselves,  first,  a  round- 
arched  (Romanesque)  part  which  includes 
the  nave  and  transept  with  their  vaults 
and  domes ;  second,  a  pointed  Gothic 
jjart  including  the  aisles,  the  faQade  ex- 
cept the  central  door,  the  apse  of  the  choir, 
which  has  been  confused  by  alterations, 
and  its  flanking  turrets.  To  these  are  to 
be  added  the  Renaissance  or  modern  ad- 
ditions, including  the  Lady  Chapel.  The 
original  intent  seems  to  have  been  to 
apply  the  doming  of  St.  Mark's  in  Venice 
to  the  Latin  cross  of  a  Gothic  church,  and 
the  nave  is  laid  out  in  three  great  domed 
bays — of  which  the  third  is  the  crossing, 
flanked  by  two  transept  arms  likewise 
domed — and  continued  in  the  square  bay 
of  the  choir  with  still  a  sixth  dome.  Be- 
yond this  is  the  semicircular  apse,  also 
domed,  enclosed  by  pointed  arches  spring- 
ing from  slender  columns  and  surrounded 
by  an  aisle  of  nine  bays  with  four-part 
vaulting  and  a  range  of  nine  radiating 
chapels  outside.  The  main  arches  are  all 
round,  the  high  stilted  domes  borne  by 
spherical  j^endentives,  while  in  the  bays 
of  the  nave  pointed  sub-arches  have  been 
built  in,  subsequently  it  would  seem,  in 


'ADIA 


Padua,   S.  Ariturn.j,  K._.o 


roiisistiiiE^  of  pnintcd  arches 
witli  vniissoirs  of  yellow  aiul 
lihiek  marble,  carried  on  col- 
li iiiii.s  with  high  foliated  capi- 
tals, lu  the  larger  cloister 
this  arcade  carries  a  second 
story  with  a  range  of  engaged 
round  arches,  some  of  which 
ai-e  pierced  by  sqitare- headed 
windows.  The  record  of  the 
church  goes  back  no  farther 
than  the  middle  of  the  xiii 
century.  It  is  said  to  have 
lieen  finished  in  1307,  with  the 
exception  of  the  central  cupola, 
which  was  a  century  later.  (.SVc 
rifis.  131,  132.) 

Sta.  Giustina,  one  of  the 
most  ambitious  of  the  Renais- 
sance churches,  is  3T.")  ft.  long, 
■J 40  ft.  across  the  tran.sept.  and 
nearly  8.")  ft.  high  under  the 
vaults.  It  was  built  by  An- 
drea Kiccio  about  1.520.  The 
nave  and  aisles  are  separated  by 

pairs  under  the  main  arches,  opening  into     square  piers  with  a  flat  Ionic  pilaster  on 

the  aisle  bays,  which  are  two  to  one  and     each  face,  and  a  square  block  of  entablature 

groin-vaulted.     The  interior  of  the  main 

church  is  bare  of  detail  antl  blankly  white- 
washed, but  the  chapels  are  richly  deco- 
rated. Each  transept  arm  is  occupied  by  a 

chapel  partially  separated  from  the  body 

of  the   church  iiy   a  line  of   five   arches, 

that  on  the  north  being  Kenaissance,  while 

that  on  the  south  is  Gothic.     The  latter 

is  an  elaborate  composition,  of  five  high 

open   cusped    arches    of    yellow    marble 

with  decorated  mouldings  and  spandrels, 

carried  on  tall  round  columns,  and  over 

these   a    solid   screen    with   jjointed    and 

gabled  arches  containing  statues  under  a 

horizontal  cornice.     At  the  extreme  east 

end    of   the   choir   is   a    circular   chapel, 

doubtless  of  considerably  later  date  than 

the   church,  covered   by  a   hemispherical 

dome  like  those  of  the  church,  but  low- 
er.    (Jn  the  south  side  of  the  choir  are 

three  groined  cloisters,  larger  and  smaller, 

264 


Fig.  132, — Padua,  S,  Antonio. 
Scale  of  100  feet. 


P^ESTU.Al 


from  which  sprino;  tlie  oross  archi's  (if  thu 
nave  and  aisles.  The  aisles  are  covered  by 
barrel-vaults,  and  from  each  opens  a  con- 
tinuous line  of  chajiels,  two  to  each  bay, 
above  which  the  aisle  is  carried  up  nearly 
to  the  height  of  the  nave  and  lighted  by 
round  windows.  The  arms  of  the  cross 
are  long,  and  in  each  the  short  bay  next 
the  crossing  is  barrel-vaulted  ;  beyond  it 
are  three  domed  bays  in  the  nave,  and  one 
in  each  arm  of  the  transejit  and  choir, 
which  end  in  great  round  apses.  The 
crossing  is  covered  by  a  high  dome  ou  a 
round  drum.  The  transept  and  clioir  are 
flanked  by  aisles,  all  of  which  end  in 
round  apses.  The  choir,  of  great  depth, 
has  a  fine  range  of  stalls  richly  carved  and 
backed  by  an  order  of  Corinthian  columns, 
enclosing  Bible  subjects  in  high  relief. 
The  front  is  unfinished  and  bare.  The 
sides  show  the  high  walls  of  the  chapels 
with  round-arched  windows,  and  higher, 
the  walls  of  the  aisles  like  a  clerestory, 
with  gabled  bays  divided  by  pilasters,  and 
a  single  round  window  to  each  bay.  On 
the  north  side  is  a  fine  cloister  by  Pietro 
Lombardo.  resembling  the  cortil.e  of  a  pal- 
ace. On  an  open  arcade  of  ])iers  with  en- 
gaged Doi'ic  columns  and  entablature  is  a 
second  story  with  an  order  of  Ionic  col- 
umns on  pedestals,  with  wi?idows  in  the 
intervals  decorated  with  consoles  and  pedi- 
ments. 
P.ESTUM  (Poseidonia),  Italy. 

The  Basilica,  so-called,  a  Doric  strnct- 
ure  80  ft.  by  ITS  ft.,  south  of  the  Temple 
of  Keptune,  and  parallel  with  it,  is  a 
peripteros  of  nine  columns  by  eighteen,  a 
little  less  than  G  ft.  in  diameter  at  the 
base,  on  a  stylobate  of  three  steps.  The 
columns  have  a  marked  taper  and  entasis  ; 
the  echinus,  wide-spreading  and  weak,  has 
in  place  of  the  annulets  a  roll,  beneath 
which  is  a  hollow  necking  of  Doric  leaves. 
The  usual  ujiper  moulding  of  the  archi- 
trave is  represented  by  a  separate  course, 
and  the  frieze  is  without  triglyphs.  There 
are   five   columns   between   antaj    in    the 


2)ronaos,  and  the  cclla  is  divided  into  two 
aisles  by  a  central  range  of  columns  like 
those  of  the  peristyle.  This  unusual  jdan 
may  be  compared  with  that  of  the  Corcy- 
rtean  Stoa  at  Elis,  as  described  by  Pausa- 
nias,  and  also,  in  its  uneven  number  of 
columns  ou  the  fronts  and  even  number 
on  the  flanks,  with  that  of  the  Temple  of 
Zeus  at  Girgenti.  The  cella  walls  are 
gone,  except  the  ant:v.  It  was  i)robably 
a  double  temple,  having  each  aisle  of  its 
cella  dedicated  to  a  separate  divinity — 
presumably  to  Demeter  and  Kora.  In  its 
architectural  details  it  is  very  similar  to 
the  Temple  of  Ceres,  and  it  probably  dates 
from  the  begimiing  of  the  vi  century  B.C. 

Fortification-Walls,  of  good,  regu- 
lar Hellenic  masonry,  apparently  dating 
from  the  second  half  of  the  iv  century  B.C. 
The  plan  is  an  irregular  polygon  over 
three  miles  hi  circuit.  Four  gates  open 
toward  the  cardinal  points.  That  on  the 
east  is  well  preserved,  and  is  vaulted  ;  the 
keystone  on  one  face  is  carved  with  dol- 
phins, that  on  the  other  with  a  Nereid, 
emblematic  of  the  domain  of  Poseidon. 
They  are  standing  in  places  to  a  consider- 
able height. 

Temple  of  Ceres,  so-called  (or  of 
Vesta) ,  in  the  north  part  of  the  city,  near 
the  Salerno  gate.  It  is  a  Greek  Doric 
peripteros  of  six  columns  by  thirteen,  5  ft. 
o  in.  in  diameter  at  the  base,  on  a  stylo- 
Ixite  of  three  steps  measuring  47  ft.  by 
10(j|  ft.  ou  the  edge  of  the  top  step.  The 
columns  stand  exactly  upriglit ;  they  have 
much  entasis  and  ujjward  diminution  ; 
the  echinus  is  wide-spreading  and  weak, 
with  a  small  roll  at  its  junction  with  the 
shaft,  beneath  which  is  a  hollow  necking 
cut  with  leaves.  The  ui)per  moulding  of 
the  architrave  is  rejiresented  by  a  separate 
course  of  considerable  height.  The  frieze 
is  formed  of  long  blocks  in  which  grooves 
were  cut  to  receive  the  narrow  triglyiihs, 
all  now  fallen  away.  The  metopes  are 
smooth,  with  the  usual  flat  moulding  on 
the  top.     The  projecting  parts  of  the  cor- 


I'ALATROS 


nice  are  gone,  except  some  portions  above 
the  two  pediments.  Tlie  cella  liad  no 
opistliodomos.  Before  the  prouaos  with 
its  projecting  autse  was  a  portico  of  four 
by  four  columns,  the  front  range  raised 
on  one  step,  and  tlie  two  next  columns  of 
the  side  ranges  raised  each  one  step  more. 


Fig,  133 — Paaslum,  Temple   of   Neptune 

These  columns  iiad  twenty-four  channels; 
those  of  the  peristyle,  twenty.  About 
one-third  of  tlie  cella  was  cut  off  for  a 
rear  chamber,  which  had  a  door  in  the 
rear.  At  the  back  of  the  main  chamljer 
there  was  a  long,  narrow  cell  projecting 
from  the  dividing  -  wall  ;  this  cell  may 
have  been  an  adytum,  or  possibly  enclosed 
the  cult-statue.  As  in  the  other  temples 
of  Pajstum,  the  cella  has  been  carried 
away  down  to  its  platform,  for  building- 
material.  This  building,  displaying  in  its 
details  various  Ionic  elements,  may  be 
dated  from  tiie  early  vi  cent.  B.C.  ;  there 
are  some  traces  of  a  Roman  restoration. 

The  Temple  of  Xeptuxe,  so-called, 
ranks  with  the  Theseum  at  Athens  and 
Temple  of  Concord  at  Girgenti,  as  one  of 
the  three  best-preserved  Greek  Doric  tem- 
ples, and  presents  a  most  majestic  effect. 
It  is  in  the  southern  part  of  the  (nty,  side 
by  side  with  tlie  so-called  Basilica,  which 
like  it  fronts  on  the  agora.  It  is  a  perip- 
teros  80  ft.  by  190  ft.,  of  six  colunins  liy 
fourteen,  29  ft.  2  in.  high  ami  ;  ft.  .'>  in. 


in  diameter  at  the  base,  on  a  stylobate  of 
three  steps.     The  peristyle  columns  have 
twenty-four  channels,  but  slight  entasis, 
and  diminish  much  toward  the  toj)  of  the 
shaft.     The   entablature    and    pediments 
are  intact,  except  for  a  few  of  the  cor- 
nice-blocks.    The  cella  was  raised   aliove 
the  pronaos  and  opistliodomos  on 
a  somewhat  high  basement  ;  the 
pronaos   and   opistliodomos   each 
have  two  columns  in   antis.     Its 
walls,  except  the  anta',  have  been 
almost  wholly  removed  as  build- 
ing-material.   In  the  pronaos  were 
stairs  leading  to  the  upper  jiarts  of 
the  building.     The  interior  of  the 
cella  was  divided  into  three  aisles 
by  two  ranges,  still  complete,  of 
seven  Doric  columns,  nearly  0  ft. 
in   diameter,   with  antie  at  each 
end  of  each  range.     Above  these 
ranges  of  cohiniiis  were   smaller 
ranges,   now  incomplete.     The 
ci-ntral  aisle   is   only  about  Ki  ft.   \vide. 
The  material   is  the  rough  local  traver- 
tine  or  limestone,   full   of   cavities,    and 
now  of  a  rich  yellow  color.     The  surface 
was  coated  with  fine  stucco,  now  nearly 
all   fallen   away,    upon   which   the   poly- 
chrome ornament  was  applied.     The  tem- 
ple may  be  as  old  as  the  middle  of  the  vr 
century  B.C.     {See  Fig.  loo.) 
PALAIKOS    (Kechropoula),    Acarnaiiia, 
Greece. 
The  Walls  are  extensive  and  well  jire- 
served,  partly  in  polygonal  masonry  and 
partly  in  Hellenic.     A  very  notable  feat- 
ure is  a  large  gate  covered  with  a  true 
barrel-vault  of  hewn  voussoirs,  which  is 
shown  by  the  construction  to  be  contem- 
jioraneous  with  the  polygonal  masonry  in 
which  it   is  enclosed.     Within    this  gate 
appear  remains  of  a  street,  of  the  agora, 
of  several  large  buildings,  and  of  two  oval 
cisterns.     At  the  N.   E.  angle  is  a  great 
square   tower  with  a  double  stairway,  and 
on  the  west  side  access  is  afforded  to  the 
platform  of  the  wall  by  stairways  of  nvcr 


2(iti 


I'ALATITZA 


twenty  steps.     Here  ami  in  otlier  places 

the  walls  survive  perfect,  except  fur  the 

battlements. 

PALATITZA.  Jlacedonia.  Turkey. 

I'alace,  of  Greek  construction  and 
Hellenistic  epoch.  The  fa(,'ade  measured 
about  280  ft.  in  length,  and  the  depth  of 
the  building  was  much  greater.  The  cen- 
tral portion  of  the  fa(;ade  formed  a  monu- 
mental propylajum  with  columns  which 
appear  to  have  been  flanked  bj'  porticoes, 
and  whose  broad  passage,  with  three 
transverse  divisions,  extended  through  to 
the  great  central  court.  The  passage  is 
flanked  by  a  number  of  rooms,  some  of 
them  very  large,  and  one  circular,  whose 
precise  destination  is  not  made  out.  The 
central  court  was  probably  colonnaded. 
and  it  is  established  that  a  considerable 
structure  stood  at  the  back  of  it,  probably 
the  actual  abode  of  the  prince  ;  the  exca- 
vation of  all  but  the  prop\-liBum  is,  how- 
ever, very  incomplete.  The  architectural 
elements  found  include  large  and  small 
Doric  columns  and  entablature.  ])(iric 
semi-columns,  Ionic  jiiers  and  anta?.  and  a 
beautiful  antefix  in  terra-cotta.  The  de- 
sign and  execution,  though  testifying  to  a 
somewhat  advanced  date,  are  refined. 
PALERMO.  Sicily. 

The  Cathedral,  called  also  the  Ma- 
trice,  is  a  Gothic  church  which  dates  from 
the  XII  cent.,  but  has  mostly  lost  its  an- 
cient aspect.  It  is  a  large  three-aisled 
basilica,  with  transept  and  three  eastern 
apses,  some  360  ft.  long  and  IGO  ft.  across 
the  transefit.  The  broad  nave  (over  ."iO 
ft.)  is  in  ten  bays.  The  }iiers,  originally 
groups  of  four  detached  columns,  were 
walled  uj)  solidly  at  the  end  of  the  last 
century,  when  the  splendid  wooden  roof 
was  replaced  by  a  white  vault  aiul  a  higli 
dome  built  over  the  crossing  by  Fernando 
Fuga,  against  the  protest  of  the  architects 
of  Palermo.  The  narrow  aisles  are  bor- 
dered by  ranges  of  chapels,  which  are  in- 
terrupted in  the  middle  of  each  flank  by 
a  triple-arched  recessed  porcli.     The  ex- 


terior retains  in  the  main  its  aspect  of  the 
XIV  cent.,  and  shows  in  its  rich  detail  a 
singular  mixture  of  Italian  Gothic  and 
Saracenic  character.  Four  slender  tow- 
ers mark  tlie  four  corners,  flanking  the 
fayade  and  the  end  of  the  choir.  The 
facade  itself  is  a  rather  bald  screen,  cover- 
ing the  nave  and  aisles,  and  ending  in  a 
rich  horizontal  cornice  with  a  dense  ar- 
caded  corbel-table  above  a  kind  of  close- 
set  In'ackets,  and  crowned  by  battlements. 
Tall  ijilaster-like  buttresses  suggest  the 
division  into  nave  and  aisles  ;  the  central 
compartment  is  occupied  by  a  great  shal- 
low blind  arch  enclosing  the  main  door- 
way at  the  bottom  and  broken  at  the  tojj 
into  a  gabled  line  above  the  clerestory 
window.  This  window  and  door  are  of 
the  late  Gothic  of  the  xiv  cent.,  with 
jambs  and  heads  richly  decorated  witli 
shafting  and  carving.  In  each  side  com- 
partment is  a  door  and  window  of  earlier 
date,  probably  of  the  xiii  cent.,  to  which 
belong  the  corner  towers  with  their  suc- 
cessive stories  of  two-light  shafted  win- 
dows and  low  spires  rising  among  gables 
and  pinnacles.  The  horizontal  cornice  of 
the  front  is  continued  all  round  the  clere- 
story of  nave,  transej^t,  and  choir,  and 
the  battlements  are  repeated  at  the  eaves 
of  the  aisles  and  the  bordering  chapels. 
The  high  clerestory  walls  are  panelled  in 
pointed  arches  outlined  in  mosaic,  and 
every  other  one  occupied  by  a  window  ; 
the  walls  of  the  apses  are  elaborately  dee- 
orated  with  interlacing  arches  and  bands 
of  marble  mosaic.  The  vaulted  porch  on 
tlie  south  has  three  broad  stilted  jiointed 
arches  with  slender  supporting  columns 
and  buttressed  by  low  arcaded  turrets, 
above  them  a  frieze  and  low  gable  filled 
with  rich  blind  tracery.  Over  the  cross- 
ing rise  Fuga's  dome  and  cu])ola,  on  a 
round  drum  witli  an  order  of  Corinthian 
pilasters  and  pedimented  windows  be- 
tween, crowning  the  building  well,  but 
offending  by  its  incongruous  style  ;  and  a 
series   of   smaller   domes   over   the   aisles 


PALERMO 


blocks  the  clerestory  windows  without 
excuse.  Two  enormous  pointed  arclies 
bridge  the  street  before  the  front,  eon- 
uectiug  the  facade  with  the  campanile 
opposite  tlie  nave,  which  makes  i)art  of 
tlie  front  of  the  adjoining  archbishop's 
palace.  This  tower  rises  in  a  huge  bare 
rectangular  mass  above  the  level  of  the 
nave,  and  is  then  broken  into  an  elaborate 
comijosition  of  a  central  tower  surrounded 
by  an  arcade  with  angle-turrets  at  the 
corners.     This  upper  part  is,  like  the  up- 


pcatcdly  in  the  next  tliree  centuries,  and 
at  last  Fuga  was  let  loose  upon  it  iu  1180- 
1801,  with  the  effect  that  has  already 
been  described.  Most  of  the  early  kings 
of  Sicily  were  crowned  and  buried  here, 
and  their  tombs  remain.  [Sec  Fiij.  1-H.) 
La  Cuba,  a  noted  garden  palace  in  the 
suburbs  of  Palermo — one  of  the  few  purely 
Saracenic  buildings  still  left  in  Sicily,  but 
ruined.  It  is  a  jjlain  rectangular  mass  of 
stone  building  about  GO  ft.  by  loo  ft. 
and    50    ft.    high,    its    walls   broken    by 


Fig.  134— Palermo,  Cathedral,  East  End. 


per  parts  of  the  cathedral  itself,  later  and 
more  purely  (iothic  in  type  than  the 
body  of  the  catliedral.  Tiie  central  tower 
has  two  high  belfry-stages  above  the  ar- 
cade, of  two-light  and  three-light  windows 
with  traceried  heads  and  shafted  mullions, 
the  corner  turrets  are  boldly  iianelled  witli 
blind  arches  and  shafting,  and  all  end 
in  low  octagonal  spires.  The  building  of 
the  ]n'esent  catiu'drai.  or  the  rebuilding  of 
the  older  one  on  the  same  site,  was  begun 
in  li:o  by  Gualterio  OfFamilio  (Walter  of 
the  Mill),  the  English  archbislio])  "f  Pa- 
lermo and  chancellor  of  William  II.  nf 
Naples  and  Sicily.  It  was  consecrated  in 
llS.j  to  Sta.  Maria  Assunta,  was  altered  re- 


liigh  pointed-arched  ])anels  wliicli  run  u]) 
through  all  the  stories,  and  are  occu[)ied 
by  windows  and  niches  capriciously  dis- 
tributed. The  cornice  carries  an  inscrip- 
tion which  shows  it  to  have  been  built  by 
William  II.  in  1182  (the  last  figure  of  the 
date  being  somewhat  uncertain).  The  in- 
terior is  stripped  and  the  central  hall 
roofless.  There  are  indications  of  a  dome 
carried  on  stalactite  pendentives,  and  it  is 
conjectured  that  to  this  the  palace  owes 
its  popular  name  of  Cuba  or  Kidjba,  that 
is,  dome.  A  group  of  pavilions  surrouiuls 
it,  of  which  one  remains,  a  square  open 
stone  structure  with  a  pointed  arch  in 
eacdi  face,  and  a  round  donu'.     The  beauty. 


PALER:\ro 


of  tlie  palace  and  surrounding  gardens, 
two  miles  in  circumference,  was  famous 
in  their  day. 

The  Mautokaxa,  or  Church  of  Sta. 
Maria  dell'  Aminiraglio,  is  in  its  nucleus 
a  small  Byzantine  church  built  in  the 
first  half  of  the  xii  cent.,  and  dedicated 
in  1143  by  the  high  admiral  George  of 
Antioch.  The  original  mosaic  pavement, 
still  remaining,  shows  the  outline  of  the 
old  church,  which  was  a  square  of  about 
35  ft.  divided  into  nine  bays  by  pointed 
cross-arches  resting  on  four  large  columns 
of  earlier  style.  Above  the  central  bay 
was  a  dome  on  squinches,  and  at  the  east 
end  three  apses.  The  whole  interior  was 
lavishly  decorated  with  marbles  and  mo- 
saics on  a  gold  ground.  In  1433  the  nuns 
of  the  adjoining  convent,  founded  in  1193 
by  Giorgio  and  Aloisia  ilartorana  (hence 
the  name),  begged  the  church  for  the  con- 
vent. At  the  end  of  the  xvi  cent,  they 
pulled  away  the  front  and  added  four 
bays  to  the  nave,  extending  it  till  it 
reached  the  tower  which  had  stood  oppo- 
site. Later  they  tore  down  the  apses, 
added  a  square  raised  choir  for  the  nuns, 
a  baroco  facjade  against  the  side  facing 
the  piazza,  and  in  other  ways  so  disfigured 
the  church  that  its  beauty  is  confined  to 
the  dome  and  adjacent  jiarts.  where  the 
original  mosaic  decoration  has  been  al- 
lowed to  remain.  The  striking  tower, 
however,  retains  its  old  form.  It  has 
two  square  stories  below,  the  first  an  open 
vaulted  (Jothic  porch,  then  a  story  adorned 
with  mosaics,  and  Saracenic  in  character, 
and  above  these  two  retreating  stories 
with  round  arcaded  corner  turrets.  All 
these  but  the  lowest  have  pointed  arched 
openings  with  sub-arches  and  inullion- 
shafts. 

The  OsPEDALE  Graxde.  or  Sclafani 
Palace,  facing  the  Palazzo  Reggia  on  the 
great  piazza,  is  an  old  palace  built,  it  is 
said,  in  the  single  year  1330  by  Matteo 
Sclafani.  It  is  much  altered,  but  the 
south  and  east  fronts  retain  their  old  as- 


pect. A  very  high  basement  of  two  plain 
stories  is  broken  only  by  a  series  of  pi- 
laster-strips which,  running  uji  into  the 
third  and  princijml  story,  end  in  slightly 
pointed  interlacing  arches  with  banded 
voussoirs,  and  enclosing  double  pointed 
windows,  with  mullion -shafts,  under 
pointed  arches.  The  tympana  of  the 
windows,  the  points  and  spandrels  of  the 
arches,  are  filled  with  a  profusion  of  ro- 
settes in  colored  mosaic.  Above  this  ricli 
third  story  is  a  range  of  jiointed  twin 
windows  divided  only  by  colonnettes. 

Palatine  Chapel.  See  Palazzo 
I)i'(/f/i/i. 

I'alazzo  StLAFAXi.  See  Ospcchde 
(riaiKlr. 

The  Palazzo  Reggia  or  Reale  (Royal 
Palace),  is  a  huge  pile  of  ])uildiugs  of 
various  dates  and  styles,  built  on  the  site 
of  a  palace  or  stronghold  of  the  Arab 
emirs,  and  used  for  centuries  as  a  royal 
residence  by  Norman  kings,  the  Spanish 
viceroys,  and  later  rulers.  Nothing  is 
recognizable  in  it  older  than  the  Norman 
palace  built  by  Roger  II.,  in  1119.  The 
outside  is  almost  entirely  modernized,  and 
about  the  central  court  are  grouped  many 
handsome  modern  apartments.  The  great 
halls  of  the  parliament  on  the  gi'ound 
floor  have  been  turned  into  stables,  but 
those  in  the  upper  story,  reached  by  a 
handsome  staircase  of  red  marble,  the 
Ilall  of  the  Viceroys,  the  Audience,  and 
the  Sala  del  Parlamento,  fitted  up  on  the 
return  of  the  viceroys  in  l.").")0 — are  still 
handsomely  preserved.  Of  the  four  tow- 
ers that  surroundeil  tlie  Norman  jialace 
only  one  is  left,  restored  in  1835,  the 
tower  of  Sta.  Ninfa,  with  panelled  walls 
and  pointed  windows  with  mullion-shaf ts, 
containing  the  Norman  hall,  a  vaulted 
room  whose  walls  and  vaults  are  richly 
decorated  with  mosaics.  The  upjier  part 
of  the  tower,  used  as  an  astronomical  ob- 
servatory, contains  a  room  covered  by  a 
rich  stalactite  ceiling,  of  Saracenic  char- 
acter.    But  the  finest  part  of  the  whole  is 


afi!) 


PALEEMO 


oil  siiuiU  iliagoiuil  arches  and  covered  by 
a  dome  of  horseshoe  section.  Over  the 
traiLsopt  arms  are  round  barrel  -  vaults, 
over  the  aisles  02)en  lean-to  root's,  and 
over  tlie  nave  a  rich  Saracenic  stalactite 
ceiling.     All   the   wall    surfaces   are   flat 


the  famous  Palatine  C'hajjcl,  or  t'a]>ella 
Palatiua,  part  of  the  work  of  Roger  II., 
about  ll;50.  built,  like  the  state  ai)artnients. 
ill  the  upper  story.  Half  imbedded  in 
the  other  buildings,  it  counts  for  little 
outside.  It  is  reached  by  a  portico  of 
half  a  dozen  columns  of  Egyptian  granite,  and  smooth  ;  there  is  hardly  a  moulding 
and  is  a  small  three-aisled  basilica,  with  or  detail  in  relief  except  in  tlie  nave  ceil- 
transept,  three  eastern  ajjses  and  a  dome  ing,  but  the  whole  surface  is  enriched  to 
over  the  crossing.  It  is  about  43  ft.  wide,  the  last  degree  of  sumptuousness  with 
lO.i  ft.  long,  and  Go  ft.  high  under  the  painting,  gilding,  and  mosaics,  above  the 
dome.  The  nave,  2:>  ft.  wide,  is  in  five  dado  of  colored  marbles  that  lines  the 
bays  :  the  broad  pointed  arches,  much  base  of  the  walls.  Innumeraljle  pictures 
stilted,  rest  on  antique  columns  alternately  of  apostles,  saints,  and  martyrs,  scenes 
of  granite  and  marble,  fluted  and  plain,  from  the  Old  Testament  and  the  New,  in 
with  capitals  n'CHit  in  a  variety  of  styles,  mosaic  on  gold  ground,  added  by  the  im- 
mediate successors  of  Koger, 
cover  the  walls,  dome,  and 
apses,  mingled  with  ornamen- 
tal work.  Hyzantine.  Koman- 
esque.  and  Saracenic.  The 
choir-railing,  altars,  and  pul- 
pit are  lavishly  enriched  with 
fine  mosaic  in  the  manner  of 
the  work  of  the  Cosmati  at 
Pome.  The  pavement  is  laid 
ill  Alexandrine  mosaic  of 
varied  marbles,  and  under 
the  raised  choir  is  what  serves 
as  a  cry]it.  perhaps  an  older 
chapel  oil  the  ground  floor. 
This  chajiel  is  entered  singu- 
larly, by  two  doors  at  tlie 
front  end  of  the  aisles :  be- 
tween them,  ill  place  of  a 
middle  door,  is  a  kind  of  dais, 
as  if  for  the  royal  tlirone.  and 
a  rercdos  is  figured  on  the 
wall  bcjiiiid.  Happily  the 
whdlc  t'hapel  has  come  down 
t(i  us  almost  unaltered  in  its 
early  sjdendor.  ( See  Fir/. IS'). ) 
S.  C"  .\  T  .\  L  D  () ,  one  of  the 
earliest  of  the  Norman 
ill  Sicily,  is  a  small  liuild- 
ing,  both  Byzantine  and  Latin  in  jilaii, 
said  to  have  been  built  by  Count  Mar- 
sico,   one  of  the   roval   familv,    in    1101. 


Fig    Ijj — Pdiyimo,  Palatine   Cnapei, 

Byzantine,  Lombard,  and  Saracenic. 
The  columns  are  coupled  and  gi'oiijied  at 
the  crossing,  wdiere,  over  the  four  great 
arches,  the  square  is  brought  to  a  circle 


churches 


27U 


PALERMO 


It  is  iiiilv  about  25  ft.  by  >i■^  ft.,  and  is 
divided  into  a  nave  and  aisles  in  tliree 
bays,  those  of  the  nave  domed,  witli 
clumsy  squinches,  the  aisles  timuel-vault- 
ed.  The  arcades  are  pointed,  as  are  the 
vaults  of  the  aisles  ;  of  the  three  eastern 
apses  the  middle  one  projects  slightly,  the 
others  are  in  the  thickness  of  the  heavy 
wall.  The  capitals  are  jjart  Byzantine, 
Corinthian,  partly  carved  cushion  capi- 
tals ;  the  floor  is  in  a  mosaic  of  interlacing 
bands.  The  church,  sometime  abandoned, 
has  lately  been  used  for  the  service  of  the 
Post  Office. 

S.  GiovAXXi  DKfiLi  Ekemiti,  a  small 
but  interesting  Byzantine  church.  Its 
history  is  in  disjjute,  but  a  church  and 
monastery  existed  here  from  a  very  early 
date,  and  it  is  certain  that  about  113"-i 
Roger  II.  rebuilt  or  restored  it,  and  gave 
the  convent  to  the  order  of  Montevergine, 
from  which  time  at  least  the  church  has 
come  down  with  little  alteration.  It  has 
a  nave  of  two  square  bays,  a  short  bay  and 
apse  in  place  of  choir,  flanked  on  the 
north  by  a  square  tower,  on  the  south  by 
a  bay  which  is  now  the  entrance  to  some 
later  additions.  All  the  bays  are  covered 
by  high  domes  set  on  squinches,  and  the 
tower  ends  in  a  small  dome,  behind  a 
parapet  which  is  repeated  at  the  eaves  of 
the  church.  The  arches  are  mostly  round, 
but  those  across  the  nave,  the  entrance, 
and  the  openings  in  the  belfry  are  point- 
ed. The  peculiar  plan  and  the  groujj  of 
domes  on  the  outside  give  the  church 
such  an  oriental  look  that  several  authori- 
ties have  argued  that  it  must  have  been  a 
mosque  of  the  Saracens  taken  for  Chris- 
tian worship. 

S.  GiovAXXi  DEI  Lepkosi.  This 
ruined  church,  interesting  as  jjerliaps 
the  oldest  of  the  Sicilian  churches,  was 
built  by  Robert  Guiscard  and  Roger  I., 
in  lOTl,  at  the  moment  of  the  Norman 
conquest  of  Sicily.  It  is  a  three-aisled 
basilica  with  transept  and  domed  crossing 
and  three  eastern  apses.     The  arches  are 

871 


pointed,  the  nave  and  aisles  of  four  bays 
divided  by  columns.  It  took  its  name 
from  a  hospital  for  lepers  which  was  an- 
nexed to  it  by  William  II. 

Sta.  Makia  della  Cateka,  a  church 
of  mixed  architectural  styles  dating  from 
the  end  of  the  xiv  cent.,  with  a  front  much 
later.  Its  plan  is  a  rectangle,  with  a  total 
length  of  about  120  ft.,  and  a  breadth  of 
about  52  ft.  The  nave  and  aisles,  of  six 
bays  each,  are  sejiarated  by  arcades  of  de- 
pressed arches,  carried  on  marble  columns 
with  composite  capitals,  and  end  in  octag- 
onal apses,  which,  as  well  as  the  bays  of 
the  nave,  are  groined  and  covered  with 
frescoes.  A  cross  arch  marks  ofE  the  two 
eastern  bays  for  a  choir,  and  a  line  of  rec- 
tangular chapels  flanks  the  four  western- 
most in  each  aisle.  The  front  is  covered 
by  a  projecting  porch,  as  broad  as  the 
nave  and  aisles,  approached  by  a  double 
lateral  staircase,  of  which  the  two  flights 
meet  in  a  central  landing.  The  fagade  of 
the  porch  consists  of  three  o^ien  segmental 
arches  on  marble  Corinthian  columns, 
with  deep  arch-mouldings.  Thin  pilas- 
ters rise  from  the  capitals  of  the  columns 
to  the  horizontal  cornice,  above  which  is  a 
panelled  parapet  with  flamboyant  tracery. 
At  the  angles  are  square  buttresses  with 
panelled  faces,  carried  above  the  cornice 
like  turrets.  The  ceiling  of  the  porch  is 
groined.  The  name  of  the  church  recalls 
the  chain  which  was  stretched  for  defence 
across  the  mouth  of  the  harbor,  and  also  a 
miracle  by  which  three  condemned  crim- 
inals, who  took  refuge  in  the  original 
church  on  this  site,  were  freed  from  their 
chains  through  prayer. 

S.  Spirito.  This  church  and  Cister- 
cian monastery,  about  a  mile  south  of  the 
city,  were  founded  in  117.3  by  Gualterio 
Offaniilio,  the  English  archbishop,  under 
William  II.  The  facade  of  the  church 
was  disguised  in  1T83,  but  the  interior  re- 
tains much  of  its  old  aspect.  It  is  a  small, 
plain,  three-aisled  church  with  transept 
and  three  eastern  apses.     The  nave  and 


PALESTKINA 


aisles  are  in  tliree  buys  witii  pointed  arclics 
on  rude  columns  and  lieavv  i)iers  at  tiie 
crossing  ;  the  clerestory  windows  are  sin- 
gle. Almost  the  oidy  ornament  is  the  ar- 
cading  on  the  outside  of  the  walls  of  the 
apses.  The  church  is  famous  in  history 
as  that  from  which  was  given  the  signal 
for  the  massacre  of  the  Sicilian  Ves2iers, 
on  Easter  Monday,  l-^8--3.  It  has  been 
lately  restored. 

La  ZiZA,  an  early  Xornian  palace  of 
.Moorish  style,  built  in  the  xii  century.  It 
is  a  rectangular  block,  about  03  ft.  by  110 
ft.,  and  80  ft.  high,  built  of  squared  stone, 
relieved  only  by  a  turret-like  projection  in 
the  middle  of  each  end,  and  a  jJanelling  of 
pointed  arches  in  three  stories,  in  which 
doors  and  windows  are  inserted.  Thin 
string-courses  separate  the  stories,  and  also 
mark  the  roof,  above  which  a  once  contin- 
uous parapet  has  been  cut  into  battle- 
ments, mutilating  the  inscription  that  dec- 
orated it.  Coupled  windows  occupy  most 
of  the  panels  with  a  sort  of  rudimentary 
tracery  ;  the  main  doorway,  now  half 
blocked,  was  in  a  high  arch  running  nj) 
into  the  second  story.  It  and  two  lateral 
doors  opened  into  a  long  vaulted  vestibule 
or  gallery  crossing  the  whole  front.  Be- 
hind this,  in  the  middle  of  the  palace,  is  a 
sfpuire  hall,  made  cruciform  by  niches  on 
all  sides,  and  decorated  with  marble  col- 
umns, painted  tiles,  and  honeycomb  ceil- 
ings. A  fount;un  in  the  niche  at  the  back 
flows,  or  flowed,  into  a  conduit  broken  by 
fish-basins,  which  crosses  the  floor  of  the 
hall.  This  hall  is  repeated  in  simpler 
form  in  the  upper  stories,  and  surrounded 
by  staircases  and  smaller  rooms.  The  pal- 
ace has  been  supposed  to  date  from  the  x 
cent.,  liut  the  testimony  of  contemporary 
writers  shows  it  to  have  been  built  by  Will- 
iam I.  (who  died  in  1108),  undoubtedly  by 
Moorish  workmen,  and  possibly  enclosing 
remains  of  an  older  building. 
PALESTRIXA  (anc.  Prajiieste),  Italy. 

The   H.ixcTi'AiiY  OF   Fohtcxk    was   a 
very   ancient  and    renowned   foundation, 


and  occupie<l  ten  successive  terraces,  rising 
one  above  the  other,  now  covered  by  the 
nuidern  city.  The  terraces  were  formed 
partly  from  the  natural  rock,  and  partly  of 
vaulted  substructions.  There  are  abundant 
remains  of  the  primitive  construction,  in 
the  form  of  Cyclopean  walls  serving  as  re- 
taining-walls  for  the  lower  terraces.  The 
first  terrace,  1,220  ft.  long  at  the  base, 
is  enclosed  with  walls  of  squared  ma- 
sonry. On  it  are  remains  of  a  large  vaulted 
reservoir,  a  monumental  piscina  or  basin, 
and  a  fountain  which  was  ornamented 
with  horses.  On  the  second  terrace,  built 
into  the  seminary,  is  an  ancient  building, 
on  whose  front  appear  engaged  Corinthian 
columns  about  20  ft.  high  on  a  basement 
of  equal  height.  At  the  north  end  is  a 
raised  arched  tribune  with  a  niche  on 
either  side.  Here  was  found  the  celebrat- 
ed mosaic  fioor  known  as  the  Mosaic  of 
Palestrina.  Around  the  hall  is  carried  a 
podium  4|  ft.  high,  with  a  cornice  and  a 
frieze  of  triglyphs  and  metopes  with  ro- 
settes ;  upon  this  basement  stand  the  bases 
of  a  range  of  Corinthian  pilasters  and 
semicolumns.  The  pavement  is  in  white 
mosaic  with  a  black  border.  This  build- 
ing was  probably  the  Temjile  of  Fortune, 
mother  of  .lupiter  and  Juno.  West  of  this 
temple  there  is  an  artificial  grotto,  vault- 
ed, about  IT  ft.  in  width,  witli  three  niches 
in  the  rock  at  the  end.  Tlie  floor  was 
covered  witli  a  highly  artistic  mosaic,  of 
which  jiortions  survive.  This  grotto  is  be 
lieved  to  have  been  the  seat  of  the  famous 
Prasnestine  oracle.  On  the  sixth  terrace 
there  are  a  number  of  semicircular  struct- 
ures, some  of  them  retaining  their  semi- 
domes  ;  these  presumably  represent  pavil- 
ions or  exedras  ;  there  are  also  several 
vaulted  chambers.  The  seventh  terrace, 
which  is  about  370  ft.  long,  presents  a 
range  of  vaulted  chambers  about  1-1  ft. 
square,  interrupted  in  the  middle  to  give 
passage  to  the  broad  stairs  leading  to  the 
terraces  above.  The  most  notable  fe>ature 
of  the  eighth  is  a  vaulted  portico  of  nine 


I'AL:\rYRA 


arcades,  decorated  on  the   front  with  Io- 
nic semi-colixmns,  and  communicating  by 
arches  in  the  rear  with  a  vaulted  gallery. 
At  either  end  is  a   projecting  wing,   also 
vaulted,  with  Corinthi- 
an pilasters  and  semi- 
columns  which   have 
capitals    of    pure    and 
c  0  m  ji  a  r  a  t  i  V  e  1  y  old 
style.     The   floor   was 
in  mosaic.    Most  of  the 
masonry  of  the  higher 
terraces  is  in  ojnts  in- 
ccrtum,   the   voussoirs 
and  certain  bands,  etc., 
being  in  blocks  of  tufa. 
The    ninth   terrace   is 
characteirzed   by   the 
massive  foundations  of 
a   large   semicircular 
structure.     On   either 
side  are  indications  of 
other   constructions  — 
perhaps    lodgings    for 
priests.      On   the   tenth  terrace,  beneath 
the  existing  chapel,  there  remain  founda- 
tions of  a  small  circular  edifice,  doubtless 
a  shrine  or  temple.     This  edifice  was  de- 
stroyed at  the  end  of  the  xiii  cent,  by  Pope 
Boniface  Till.     The  total  height  of  the 
ten  terraces  is  3G.5  ft. 
PALMYRA  (Tadmor),  Syria. 

Basilica,  possibly  a  temple  or  a  mau- 
soleum, near  the  city  wall  on  the  west 
side,  south  of  the  end  of  the  coloniuided 
street.  It  stood  on  a  raised  terrace  with 
flights  of  steps.  In  the  middle  was  a  tetra- 
style  portico  with  a  pediment,  and  on  each 
side  a  wing  or  portico  of  five  ranges  of 
four  Corinthian  columns.  Three  of  the 
interior  columns  are  still  erect,  with  the 
pedestals  of  many  others.  The  frieze  and 
the  capitals  are  very  delicately  sculptured. 
The  large  apse  opposite  the  tetrastyle  por- 
tico is  still  standing ;  it  has  niches  and 
pedimented  windows.  A  broken  archi- 
trave-block bears  the  names  of  Diocletian, 
Maximiau.  and  Constantius. 


CoLOXNADED  Strekt.  running  X.  AV. 
from  the  triple  portal.  The  columns  were 
in  four  rows,  Ooriutliian,  unfiuted,  about 
25  ft.  high,  with  brackets  on  their  shafts 


Fig.  136. — Palmyra,  Street  Colonnade. 

for  statues.  They  probably  formed  the 
fronts  of  a  system  of  covered  porticoes 
along  the  street,  and  there  is  indication 
that  there  was  above  a  second  story  with 
smaller  columns.  The  ranges  of  columns 
extended  for  a  distance  of  nearly  three 
quarters  of  a  mile,  and  included  at  least 
seven  hundred  and  fifty  columns,  of  which 
about  one  hundred  and  fifty  are  still  stand- 
ing with  a  great  part  of  their  entaldature. 
The  series  of  columns  is  interrupted  at  in- 
tervals by  arches  built  into  the  colonnades, 
and  forming  part  of  them.  South  of  the 
middle  of  the  length  of  the  street  a  cross- 
street  is  marked  by  a  fefrapuJon  or  four- 
way  gate.  Two  of  the  four  massive  cor- 
ner-piers are  still  standing,  with  pilasters 
and  the  abutments  of  arches  which  spanned 
the  portico.  Opposite  the  piers  four 
great  monolithic  columns  of  Egyptian 
granite  stood  out  in  the  street.  One  of 
these  still  stands  ;  the  shaft  of  a  second, 
which  has  fallen,  is  29  ft.  long  and  about 
3  ft.  4  in.  in  diameter.  At  about  the  middle 


273 


PALMYRA 


of  the  street  was  a  second  tetnipyloii, 
this  one  vaulted  ;  twenty  cohinms  remain 
standing  of  the  street  whicli  diverged  here 
toward  the  west.  Ruinous  remains  of 
many  ancient  buildings  lie  along  tliese 
streets,  some  of  them  with  columns  or 
with  arched  portals.  The  oblique  street 
led  from  an  open  (market  ?)  place  through 
an  imjjosing  triple  arch.  To  mask  the 
obliquity,  tlie  two  faces  of  the  archway 
were  made  divergent,  giving  a  wedge- 
shaped  plan.  Portions  remain  of  the  six 
arches  of  the  gateway  and  of  tlie  walls, 
niches,  and  snuiU  arches  which  connected 
the  diverging  piers  of  its  two  faces.  The 
height  of  the  chief  surviving  arch  is  34 
ft.;  it  is  richly  sculptured  and  is  flanked 
by  two  Corinthian  pilasters.  The  material 
is  a  yellowish  limestone.     {See  Fig.  136.) 

Great  Column,  north  of  the  enclosure 
of  the  Temple  of  the  Sun.  It  is  about  ."iS 
ft.  high  and  stands  on  a  pedestal.  An  in- 
scription ill  both  Greek  and  Palmyrene 
tells  that  it  was  erected  in  honor  of  the 
family  of  Alilamos,  in  138  a.d. 

SEiTLriiuAL  Towers.  The  conception 
of  these  towers,  which  were  no  doubt 
family  tombs,  is  oriental,  but  in  their  con- 
struction and  details  they  are  Roman. 
Many  of  them  are  standing  in  the  necrop- 
olis which  extends  chiefly  to  the  west 
and  N.  W.  of  the  city.  One  of  the  best 
preserved,  the  Tomb  of  lamblichus,  is 
about  58  ft.  high,  with  a  basement  in 
large  blocks,  above  which  are  three  retreat- 
ing steps  supporting  the  square  tower 
proper,  which  terminates  above  in  a  cor- 
nice. The  door  in  the  north  side  of  the 
basement  ojiens  lieneath  a  triangular  pedi- 
ment. About  half  way  up  the  tower  on 
this  same  side  ai'e  the  remains  of  a  sculpt- 
ured and  braeket(>d  roofed  balcony  which 
was  no  doubt  intended  to  receive  a  bust  or 
statue.  The  lowest  interior  chamber,  27 
ft.  square  and  20  ft.  high,  has  niches  sep- 
arated by  Corinthian  pilasters,  at  the 
back  a  sculptured  ligure  and  two  rows  of 
busts,  and  a  cofl'ered   ceiling   colored   in 


blue  and  red.  The  Tomb  of  Etabalus,  on 
the  S.  W.  side  of  the  valley,  called  by  the 
Arabs  Kubbet  el-Arus,  is  of  the  .same  type. 
The  square  tower  rises  from  three  steps 
which  rest  on  a  rectangular  jjlatform.  The 
door  is  in  the  south  side  and  the  lintel 
bears  the  inscription  by  which  it  is  iden- 
tified. At  about  half  the  height  of  the 
tower  there  is  a  large  niche  in  the  wall, 
containing  a  sarcophagus  in  the  form  of 
a  couch.  The  chamber  on  the  gronud- 
floor  is  aliout  28  ft.  by  12  ft.,  and  20  ft. 
high,  and  is  ornamented  with  pilasters,  a 
frieze,  and  busts  with  inscriptions.  The 
ceiling  is  coffered,  and  has  mouldings  and 
rosettes  in  white  on  a  blue  ground.  The 
ujiper  chambers  are  like  those  of  the  tomb 
of  lamblichus. 

Temple  of  the  Sux,  or  of  Baal,  on  a 
platform  a  little  south  of  the  middle  of 
the  great  court.  It  was  a  Corinthian 
peripteros,  about  102  ft.  by  195  ft.,  ori- 
ented north  and  south.  A  few  of  the 
columns  remain,  especially  on  the  east 
side  ;  they  are  fluted,  and  have  lost  their 
capitals,  which  may  have  been  of  bronze. 
Opposite  the  west  gate  of  the  court  the 
temple  has  a  rich  portal  between  two  col- 
umns, leading  into  the  peristyle.  On  the 
east  and  west  sides  of  the  cella  there  are 
each  four  windows.  The  door  of  the  cella 
is  33  ft.  high,  and  of  good  design  ;  its 
soffit  bears  a  sculptured  eagle  on  a  starred 
ground  between  two  genii.  The  cella  is 
surrouiuled  by  a  frieze  of  figures  and  gar- 
lands. In  the  apse  at  the  north  end  of 
the  cella  is  a  niche  ceiled  with  a  square 
slab  carved  with  the  signs  of  the  zodiac 
surrounding  seven  pentagons  with  busts 
in  high  relief.  At  each  end  of  the  temjile 
is  a  stairway  leading  to  the  upper  parts  of 
the  building.  This  temple  was  restored  at 
the  exjiense  of  the  Emperor  Aurelian,  in 
273  A.D.  :  a  mosque  has  been  built  into  it. 
The  enclosing-wall  surrounding  the  raised 
terrace  of  the  sanctuary  included  a  square 
of  7G8  ft.,  and  was  about  50  ft.  high. 
The   north   side  remains  well  preserved. 


274 


PARENZO 


the  rest  is  much  ruiued,  excejit  the  foun- 
dation, which  is  about  10  ft.  high,  built 
of  hirge  blocks,  and  about  20  ft.  broader 
than  the  wall  itself.  The  north  wall  is 
divided  by  thirteen  pilasters,  between 
which  are  square  windows.  At  the  cor- 
ners are  piers  resembling  towers,  US  ft. 
high,  in  groups  of  three.  The  Arabs 
patciied  up  the  wall  and  dug  a  moat  out- 
side of  it  to  adapt  it  for  a  fortress.  The 
chief  entrance  on  the  west,  now  destroyed, 
was  approached  by  a  flight  of  steps  120 
ft.  broad,  leading  uj)  to  a  2)ortico  of  col- 
umns 12  ft.  high,  before  a  triple  jjortal. 
The  interior  was  surrounded  by  a  portico 
with  a  double  range  of  columns,  excejjt  on 
the  west,  where  there  was  but  a  single 
range.  This  disposition  is  to  be  com- 
pared with  that  of  the  Court  of  Israel  in 
the  Herodian  temple  at  Jerusalem.  A 
number  of  the  columns  are  still  standing, 
with  their  entablature  ;  they  have  on  their 
shafts  brackets  for  statues  or  other  orna- 
ments, a  device  almost  universal  at  Pal- 
myra. The  original  number  of  columns 
was  about  three  hundred  and  ninety. 
The  wall  itself  was  ornamented  with 
niches.  The  court,  which  is  now  occu- 
pied by  the  Arab  village,  was  paved. 

Temple,  in  the  X.  E.  part  of  the  site. 
It  is  tetrastyle,  prostyle,  with  a  porch  of 
six  unfluted  Corinthian  columns  bearing 
the  usual  Palmyrene  brackets  for  statues. 
Square  Corinthian  pilasters  stand  at  the 
angles  of  the  cella,  and  a  window  witli  a 
triangular  pediment  separates  two  Corin- 
thian pilasters  on  each  side.  The  entab- 
lature is  in  place,  but  is  defaced,  as  is  the 
door  of  the  cella.  Columns  and  cella  are 
buried  to  a  considerable  height. 

Temple,  or  perhaps  tomb,  at  the 
north  end  of  the  colonnaded  street,  across 
which  its  front  is  built.  It  was  prostyle, 
with  six  unfluted  monolithic  Corinthian 
columns  with  bases  of  approximately  Attic 
profile  raised  on  square  j)edestals.  The 
central  intercolumniation  is  wider  than 
the  others. 


Wall,  with  towers,  of  Roman  construc- 
tion, probably  of  the  time  of  Justinian. 
It  is  especially  perfect  on  the  N.E.  side 
of  the  site,  and  extends  to  the  S.E.  corner 
of  the  enclosure  of  the  Temple  of  the  Sun. 
PARENZO  (anc.  Parentium),  Istria. 

The  Cathedral  is  the  most  important 
ecclesiastical  building  on  tlie  eastern  shore 
of  the  Adriatic.  It  very  closely  resembles 
the  two  great  basilicas  of  Ravenna,  and  is 
evidently  of  the  same  age.  Inscriptions 
declare  it  to  have  been  built  by  a  bishop 
Euphrasius,  and  there  was  such  an  one, 
contemporary  of  the  Emperor  Justinian, 
to  whose  time  the  architecture  clearly  be- 
longs. The  octagonal  baiitistery,  much 
dilapidated,  stands  in  front  of  the  church 
and  is  doubtless  part  of  the  oi'iginal 
plan.  Before  it  is  a  campanile  of  the 
XV  century.  Beyond  the  baptistery  is  a 
square  atrium,  like  that  of  8.  Ambrogio 
at  Milan,  though  smaller ;  behind  this 
the  basilica  itself.  The  atrium  has  an 
arcade  of  three  arches  on  each  side  with 
Ravenna -like  cajjitals  and  stilt -blocks. 
The  fa5ade  of  the  church  behind  it  was 
covered  with  rich  mosaics,  of  which  there 
are  still  remains.  The  interior  has  a 
nave  and  side-aisles  divided  by  arcades  in- 
to ten  bays,  again  with  Ravenna-like  ca2).s, 
partly  of  basket  form,  and  jiartly  Byzan- 
to-Corinthiau.  The  nave  is  plain  and 
bare,  nearly  30  ft.  wide  between  the 
centres  of  columns  and  something  more 
tlum  100  ft.  long.  It  is  therefore  much 
smaller  than  the  great  basilicas  of  San 
Apollinaris  at  Ravenna,  but  the  apse  is 
finer  and  in  better  preservation  than  in 
either  of  these.  The  stone  bench  for  the 
clergy  still  surrounds  it,  with  the  bishop's 
throne  high  in  the  middle.  Above  the 
seats  is  a  high  dado,  richly  inlaid  with 
porphyry  and  colored  marbles,  above  this 
the  whole  apse  is  covered  with  a  splendid 
and  well-preserved  mosaic  on  gold  ground 
full  of  pictures  of  the  virgin  and  saints, 
among  them  Euphrasius  himself.  The 
apse  is  round  within  and  polygonal  with- 


276 


PAEMA 


out,  shows  six  faces,  and  so  has  a  iiier  in 
the  middle.  A  rich  bahUicchiuo  of  tlic 
XIII  ceut.  covers  the  altar  in  the  middle  of 
the  apse.  Professor  Eitelbeger  ascribes 
the  mosaics  of  the  ajise  to  the  date  of  this 
canopy,  but  their  style  seems  to  suit  the 
original  aixse.    There  are  two  modern  trau- 


Fig.  137. — Parenzo,  Cathedral. 

sej)t  arms,  one  now  used  as  the  choir,  and 
on  the  north  side  a  series  of  small  chap- 
els, curiously  arranged,  and  perhaps  old- 
er than  the  basilica  itself.  They  show  a 
trefoil  of  apses,  round  within  and  polyg- 
onal without,  and,  like  the  great  apse, 
presenting  an  exterior  angle  in  the  mid- 
dle. In  these  chapels  are  remains  of  fine 
mosaic  pavements.  The  nave,  whose  floor 
was  below  that  of  the  aisles,  was  also 
paved  with  mosaic,  but  the  continual 
subsidence  of  the  ground  im  wliii-b  the 
church   stands   brought    liic    Uixir    l)cli)\v 


tiie  water  level,  and  it  has  been  filled  to 
the  level  of  the  aisles.  A  still  older  mo- 
saic pavement  seems  to  have  undcrrun 
the  whole  church,  including  the  side 
chapels,  which  gives  color  to  the  tradi- 
tion that  Enphrasius  built  his  church  on 
the  remains  of  an  older  building.  {See 
Fif/.  137.) 

The  KoMAiir  Eemains  comprise  vestiges 
of  the  Forum,  and  portions  of  the  Capi- 
tol, the  theatre,  and  two  temples.  The 
greater  part  of  the  stylobate  of  one  of  the 
temples  is  /«  situ  ;  of  the  other,  only  two 
broken  fluted  columns  remain  in  place. 
Ill  the  neighboring  garden  of  the 
ilarchese  Polesini  there  are  fragments  of 
the  architecture  of  these  temples,  in- 
cluding shafts  of  columns,  a  Corinthian 
capital,  etc. 
PARMA,  Italy. 

The  Uaptistert,  one  of  the  most  im- 
|Mirtaiit  and  interesting  of  the  baptisteries 
of  northern  Italy,  differs  widely  from 
all  the  others  in  form  and  construction. 
It  is  a  lofty  octagonal  building,  striped  in 
gray  and  red  marble,  with  six  stories  ex- 
ternally and  a  flat  roof.  On  the  first 
story  each  side  is  occupied  by  a  muiul 
arch,  of  which  three  enclose  deep  door- 
ways with  decorated  arch-mouldings  and 
tympana.  Above  are  four  stories  of  gal- 
leries with  slender  columns  sui^portiug 
heavy  horizontal  entablatures,  and  an 
upper  story  of  engaged  round  arches,  also 
on  columns.  The  angles  are  accentuated 
by  broad  flat  pilasters  with  foliated  capi- 
tals just  below  the  upper  cornice,  and  by 
octagonal  pinnacles  above  the  roof.  Be- 
tween the  pinnacles  is  a  light  open  fence 
of  stone.  The  entire  lack  of  correspond- 
ence between  the  exterior  and  interior  is 
singular.  The  interior  is  a  polygon  of 
sixteen  sides,  each  side  occupied  on  the 
first  story  by  a  broad  niche  wliicli  is  al- 
most an  apse,  with  slender  culunnis  in 
the  angles,  covered  by  a  \aiill  which 
s])rings  from  the  second  external  story 
and  occupies  the  height  of  the  other  four. 


PASENATICO 


The  exterior  poruice  is  thus  above  tlie 
crowu  of  the  interior  vault.  A  nearly  flat 
wooden  roof  covers  the  whole.  The 
building  was  completed,  or  tirst  used,  in 
12\r,. 

The  Cathedkal  (Sta.  Maria  Assunta), 
a  notable  examjile  of  Lombard  Roman- 
esque architecture,  cruciform  in  plan, 
with  apsidal  transept  and  choir,  and  an 
octagonal  lantern  and  dome  at  the  cross- 
ing. The  breadth  across  nave  and  aisles 
is  about  SO  ft.,  the  whole  length  about 
240  ft.  The  exterior  design  is  consistent 
throughout.  The  fa9ade  has  three  door- 
ways with  round-arched  heads,  the  cen- 
tral door  being  in  a  slightly  projecting 
porch  faced  with  lion -columns  of  red 
marble,  which  is  carried  up  through  two 
stories  and  finished  with  a  low  gable. 
Above  the  doorways  are  two  similar  stories 
of  arcades,  the  arches  arranged  in  groups 
of  three.  The  fa9ade  finishes  with  the 
low  Italian  gable  and  an  artnided  cornice 
over  an  open  arcaded  gallery  with  col- 
umns resting  on  steps,  following  the  rake 
of  the  gable.  At  one  angle  of  the  facade 
is  a  square  campanile  of  four  stories,  the 
divisions  slightly  marked  by  thin  string- 
mouldings  with  arches  below.  The  upper 
story  has  recently  been  iiartially  rebuilt 
with  four  pointed  arches  on  each  side,  and 
a  low  polygonal  sjiire.  The  open  galleries 
under  the  eaves,  and  the  arcades  below, 
are  continued  quite  round  the  church. 
The  ajjses  are  j)eculiar  in  design,  being 
divided  into  circular  -  headed  panels  by 
slender  shafts  rising  two-thirds  of  their 
height,  with  the  arcaded  gallery  above. 
The  octagonal  lantern  has  likewise  its 
open  arcade,  and  over  it  a  frieze  of  small 
blind  arches.  The  dome  is  low,  octag- 
onal, and  crowned  by  a  small  cupola. 
The  interior  has  a  nave  and  aisles  of  seven 
ba3-s,  vaulted,  the  iiave  arches  round,  with 
a  triforium  of  tall  round  arches  on  slender 
columns,  and  a  single  arched  window  to 
each  bay  of  the  clerestory.  The  bays  of 
the  aisles  are  square,  those  of  the  nave  ob- 


long, each  covered  by  a  four-part  vault  ; 
but  the  original  plan  seems  to  have  been 
for  a  six-part  vault,  for  from  every  alter- 
nate jiier  a  broad  square  pilaster  with  an- 
gle-shafts rises  from  the  floor  to  the  spring 
of  the  vault  to  carry  the  cross-rib,  while 
the  intermediate  piers  have  only  a  slender 
vaulting  shaft  sjaringing  from  the  cajiitals. 
The  transept  arms  have  each  two  ajises, 
one  on  the  end  and  another  on  the  east 
side.  Beneath  the  raised  choir  is  a  fine 
crypt  of  unusual  size  and  height  with  a 
vaulted  roof  supported  by  many  slender 
columns  of  marble  with  carved  capitals. 
The  crypt  dates  from  the  first  half  of  the 
X  cent.,  the  church  itself  from  the  mid- 
dle of  the  XI,  having  been  consecrated  in 
110(1,  after  the  nave  had  been  partially  re- 
built in  consequence  of  an  earthquake. 
The  chapels  which  line  the  aisles  are  late. 
The  walls  and  vaults  are  covered  with 
frescoes,  of  which  those  in  the  dome  are 
by  Correggio  and  are  esteemed  among  the 
finest  of  his  works. 

S.      GlOVAIfNI      EVANGELISTA,      a     XVI 

cent.  Renaissance  church,  with  a  square 
detached  campanile  of  later  date,  bearing 
an  octagonal  belfry.  It  has  a  long  vault- 
ed nave  and  aisles,  separated  by  square 
piers  faced  with  fluted  Ionic  pilasters, 
a  transeiJt,  apsidal  choir  and  vaulted  lan- 
tern at  the  crossing,  with  pendentives. 
The  dome  and  the  vault  of  the  apse  are 
adorned  with  frescoes  by  Correggio.  The 
interior  of  the  church,  by  Zaccagni,  a 
local  architect,  dates  from  1550,  the  ex- 
terior, in  baroco  style,  decorated  with 
two  orders  of  pilasters,  Tuscan  and  Ionic, 
and  finishing  in  a  singular  broken  outline, 
is  by  Simone  Moschino,  of  Orvieto  (KiOT). 
The  church  is  attached  to  a  large  Bene- 
dictine monastery,  finished  in  98.3,  and 
partially  rebuilt  at  the  end  of  the  xi  cent, 
by  Bishop  Siegfried.  It  has  three  quad- 
rangles surrounded  by  arcades. 
PASENATICO,  near  Parenzo,  Istria. 

S.  LoREXZO  is  a  basilica  consisting  of  a 
nave  and  two  aisles.     The  nave,  about  85 


PATARA 


ft.  long  and  20  ft.  wido.  is  (if  nine  l)ays 
with  round  columns,  carved  caj)itals,  and 
stilt  blocks  carrying  the  arclies.  It  has 
three  apses  at  the  east  end.  a  tiat  ceiling, 
and  raised  clioir.  The  old  round-arched 
clerestory  windows  are  replaced  by  modern 
luuettes.  The  churcli  has  been  classed 
as  early  Byzantine  ;  but  its  carved  and 
moulded  details  sliow  tiiat  it  is  later,  hav- 
ing the  character  of  early  Lombard  work. 
It  is  ascribed  by  Mr.  Jackson  to  the  viii 
or  IX  cent.,  and  is  valuable  as  a  rare  exam- 
ple of  such  work  so  fur  east.  Two  of  the 
original  ajise  windows  are  remarkable, 
being  tilled  with  a  tracery  of  interlacing 
circles,  and  evidently  not  meant  for  glazing. 
PATARA,  Lycia.  Asia  .Minor. 

Te.mi'LK,  small,  but  iu  many  ways  ex- 
cellently preserved  and  of  great  beauty. 
It  is  ill  anfis.  The  cella  remains  almost 
perfect,  with  its  doorway,  which  is  richly 
ornamented  like  those  of  other  struct- 
ures in  tlie  Corinthian  style,  and  is  about 
24  ft.  high. 

Theatre,  a  structure  of  the  time  of 
Hadrian,  lavish  in  ornament  and  mate- 
rial. The  cavea,  2Go  ft.  in  diameter,  is 
excavated  in  a  hillside,  and  has  an  upper 
and  a  lower  division,  each  of  fifteen  tiers 
of  seats.  An  inscription  ou  the  east  side 
of  the  theatre  sets  forth  that  it  was  built 
by  Q.  Titianus.  and  restored  by  liis  daugh- 
ter Velia.  The  diameter  of  the  orchestra 
is  9G  ft. 
PATHAI  (Patras).  Aciiaia,  Greece. 

OiJEf.M,  adjoining  the  agora ;  de- 
scribed as  the  most  magnificent  of  any 
in  Greece,  excepting  that  of  Herodes  at 
Athens.  It  contained  a  notable  statue  of 
Apollo  which  was  dedicated  from  the 
spoils  won  by  tiie  Piitrenses  when  they 
aided  the  /Etolians  against  the  invading 
(iauls  iu  279  B.C.  Its  remains  were  found 
in  1889.  It  was  a  semicircular  lioiuan 
structure  in  brick,  with  seats  risin":  iu 
tiers,  and  radial  stairwavs. 
PAVIA,  Italy. 

The  Castle,   the  ancient  fortress-pal- 


ace of  the  Visconti,  one  of  the  largest  and 
also  one  of  the  best  preserved  of  the  mili- 
tary houses  of  its  jjeriod,  is  a  vast  jiile  of 
brick  on  the  edge  of  the  town,  former- 
ly consisting  of  four  masses  of  building 
enclosing  a  quadrangle  of  some  300  ft. 
scpuire,  and  with  four  massive  and  lofty 
towers  at  tlie  outer  angles.  One  side  has 
disappeared  with  its  two  angle-towers ; 
but  tlie  other  three  sides  remain,  and  the 
entrance  front  toward  the  Piazza  del  Cas- 
tello  is  in  nearly  perfect  condition.  It  is 
about  500  ft.  long,  wholly  of  brick,  with 
a  battering  basement  rising  from  a  moat, 
aiul  two  similar  stories  of  large  windows 
divided  by  columnar  mullions  into  two 
openings  with  cusped  heads.  The  en- 
trance in  the  centre  of  this  front  is  ap- 
proached by  an  arched  bridge,  also  of 
brick,  211'otected  by  a  low  tower.  The 
wall  ends  in  a  machicolated  cornice,  sur- 
mounted by  tall,  forked  battlements.  At 
each  extrenuty  of  this  noble  fa(,'ade  rises  a 
large  square  angle-tower,  jirojecting  from 
the  walls,  carried  up  two  stories  above 
them  and  crowned  with  forked  battle- 
ments like  those  of  the  main  building. 
The  inner  court  is  of  great  interest.  It  is 
surrounded  by  an  arcade  on  both  stories, 
the  lower  of  simple  i^oiuted  arches  carried 
on  strong  round  stone  columns  with  large 
carved  cajiitals  ;  the  upper  of  round  bear- 
ing arclies  of  brick,  now  partly  filled  up, 
but  each  originally  enclosing  four  narrow 
openings  with  cusped  heads  and  mullion- 
shafts  and  tympana  filled  with  tracery. 
A  small  but  richly  decorated  cornice  com- 
pletes this  fine  composition.  The  build- 
ing dates  probably  from  about  the  middle 
of  the  XIII  century.  Its  interior,  quite 
degraded,  is  now  used  as  a  barrack. 

The  Catheukal  (S.  Stefano)  is  an 
unfinished  Renaissance  church,  begun  in 
14S8  when  the  old  cathedral  had  been  dis- 
covered to  be  in  a  dangerous  condition. 
The  i)lan,  by  Cristofero  Rocchi,  is  imposing 
and  presents  some  unusual  features.  A 
long  vaulted  nave  iu  eight  bays,  witli  side 


PAVIA 


aisles  and  pliapels,  k-ads  tii  a  vast  octag- 
onal rotunda  enclosed  by  eiglit  clustered 
piers,  joined  by  round  arclies  and  sup- 
porting a  dome.  Beyond  this  opens  a 
choir,  flanked  by  aisles  and  terminating 
in  a  semicircular  apse.  The  transept  had 
aisles  from  which  opened  four  circular 
chapels.  Large  apses  end  the  choir  and 
transept  arms,  and  every  outside  bay  in 
the  whole  church,  excejit  across  the  front, 
is  bordered  by  a  semicircular  chapel.  The 
nave  was  to  be  flanked  by  two  detached 
square  towers  more  than  300  ft.  high. 
Completed  according  to  the  design,  the 
church  would  have  been  one  of  the  most 
splendid  in  Italy  ;  but  only  a  portion  was 
built.  The  eastern  portion  of  the  choir 
was  finished  in  1518,  the  whole  choir  a 
century  later.  In  1757  the  transept  was 
finished  with  the  two  chapels  east  of  it, 
and  in  1708  the  great  central  octagon  was 


Fig.  138.— Pavia,  Cathedfal. 
Scale  of   100  feet. 

built  and  the  nave  begun.  The  work  still 
goes  on,  and  the  west  end,  including  the 
facade  of  the  church,  is  still  unbuilt.  {Sec 
Fig.  138.) 

The  Certosa,  a  Carthusian  monastery 
founded  in  1396  by  Gian  Galeazzo  Vis- 
conti.  Its  architectural  interest  is  con- 
fined to  its  celebrated  church,  one  of  the 


richest  and  most  elaborately  decorated 
buildings  in  Europe.  A  vestibule,  with 
some  much  -  decayed  frescoes  by  Luini, 
leads  to  an  inner  court,  at  the  farther  end 
of  which  is  the  front  of  the  church,  which 
has  a  nave  and  side  aisles,  transept  and 
choii',  with  a  polygonal  dome  at  the  cross- 
ing. The  exterior,  except  the  front,  is  of 
brick,  and  is  a  curious  mixture  of  styles  in 
which  the  Lombard-Eomanesque  may  per- 
haps be  said  to  jiredominate,  several  of  the 
most  notable  features  of  that  style,  as  the 
round  apse  and  the  arcaded  galleries  un- 
der the  cornice,  being  employed  in  almost 
unequalled  profusion.  The  complexity 
of  the  design,  however,  makes  the  general 
effect  more  Gothic  than  Lombard.  The 
projections  of  the  chapels  about  the  choir 
make  three  re-entrant  angles  in  each 
shoulder  of  the  crossing  ;  each  salient 
angle  of  the  building  (twelve  in  all)  is 
marked  by  a  small  square  turret,  carried 
up  into  an  open  shrine  or  lantern  ;  the 
buttresses  and  gables  are  crowned  by  pin- 
nacles. The  octagonal  lantern  at  the 
junction  of  nave  and  transept  is  a  strik- 
ing and  ert'ective  feature,  composed  of  two 
retreating  stories  of  open  colonnades  with 
entablatures,  a  third  story  of  arches  sur- 
mounted by  a  balustrade,  and  a  Renaissance 
belfry  with  eight  arches  and  pilasters  at 
the  angles,  crowned  with  a  high  dome. 
The  fapade,  nearly  a  century  later  than 
the  body  of  the  church,  is  wholly  distinct 
from  it  in  design,  being  an  early  Renais- 
sance building,  begun  in  1473  by  Borgo- 
snone.  a  Milanese  architect,  and  finished 
after  his  death.  It  is  divided  by  project- 
ing pilasters  into  five  compartments,  the 
three  in  the  centre  being  carried  up  to  a 
level  gallery  of  open  arches  with  a  heavy 
corniccione  far  above  the  nave  roof,  the 
two  side  compartments  terminating  at 
half  the  height  of  those  in  the  centre, 
with  open  belfries  at  the  extreme  angles. 
The  whole  front  has  become  of  almost  un- 
paralleled richness  by  successive  elabora- 
tions.    The  single  doorway  in  the  middle 


279 


PAVIA 


is  ill  a  round  anli.  Hanked  by  coupled  Co- 
rinthian columns  on  either  side  with 
broken  entabhitures.  In  the  side  divisions 
are  grouped    windows    witli    arcliitrave, 


and  170  ft.  in  breadth  across  the  transept, 
is  scarcely  less  ricli  in  decoration.  The 
nave  has  four  bays  ;  the  nave  arches  are 
round,  as  are  also  the  arches  by  which  the 


.  1  39.— Pavia,  Cettosa. 


frieze,  and  cornice.  Above  the  first  story 
a  gallery  of  open  arches  runs  the  whole 
width  of  the  front.  Above  is  a  range  of 
windows,  that  in  the  centre  being  circular, 
those  in  the  sides  being  round-arched  and 
coupled.  Every  portion  of  the  front  is 
covered  with  sculptured  ornament,  the 
pilastei's  carrying  ranges  of  statues  in 
niches,  and  the  wall  being  divided  into 
panels  decorated  with  carving  and  inlay 
of  rich  marbles,  porphyry,  jasper,  bronze, 
medallions  of  the  Roman  emperors,  heads 
of  angels,  bas-reliefs  from  subjects  in 
sacred  history.  The  decoration  went  on 
for  two  hundred  years.  The  interior. 
which  measures  about  250  ft.  in  lenijth 


chapels,  fourteen  in  number,  open  from 
the  aisles,  two  chapels  to  each  bay,  and  the 
window  o]ienings  above  them  ;  the  vaults 
of  the  na\c  and  aisles  are  six-jiart,  the 
bays  of  the  uavc  being  square  and  those 
of  the  aisles  oblong,  in  the  usual  Italian 
fashion.  The  wide  pier  arches  rise  to  the 
springing  of  the  nave  vault,  leaving  no 
room  for  a  triforium,  and  the  clerestory 
windows  are  small  lozenges  cusped  to  qua- 
trefoils.  But  in  the  high  walls  of  the 
aisles,  over  the  low  chapels,  a  range  of  de- 
tached windows  takes  the  place  of  a  tri- 
forium. and  the  clerestory  above  them 
repeats  the  clerestory  of  the  nave.  The 
spaciousness  and  openness  thus  gained,  the 


sso 


I'AYIA 


double  clerestorv  ami  line  of  chapels  be- 
yond, give  the  imjiretision  of  a  double- 
aisled  church,  and  echo  on  a  small  scale 
the  effect  of  the  interior  of  Milan  cathe- 
dral. The  choir  and  side  chapels  are  shut 
off  from  the  transept  by  a  high  grille  in 
iron  and  bronze  of  great  richness  and 
beauty.  On  the  south  side  of  the  church 
are  two  cloisters,  with  beautiful  arcades 
of  terra-cotta  arches  ilecoratcd  profusely 
with  exquisitely  modelled  sculpture  in 
high  and  low  relief,  and  sujDported  on 
slender  marble  columns.  The  larger  of 
these  cloisters  measures  420  ft.  by  330  ft., 
and  is  surroiinded  by  the  twenty-four  small 
houses  of  the  monks.  {See  Figs.  139, 
HO.) 

S.  Fkaxcesco,  a  cruciform  Gothic 
church  of  the  xiv  century.  Its  interior 
has  been  greatly  altered  and  modernized, 
but  the  easterly  jiortion  remains  substan- 
tially as  of  old.  From  the  east  wall  of  the 
transej^t  ojien  five  square  chapels,  of 
which  the  middle  one  is  the  largest  and 
makes  the  choir.  The  nave  j^iers  are  crn- 
eiform  in  section,  with  large  half-columns 
on  each  face  which  carry  the  longitudinal 
and  transverse  nave  arches,  and  small 
vaulting-shafts  in  the  angles.  A  row  of 
chapels  ojjens  from  each  side  aisle,  with 
pointed  windows.  The  exterior  is  of  brick 
with  a  front  of  some  elegance,  divided  into 
three  compartments  by  projecting  but- 
tresses terminating  the  high  round  pinna- 
cles. A  single  broad  gable  covers  the  en- 
tire front  and  masks  the  aisles,  the  central 
portion  slightly  raised.  The  first  story  is 
jilain  checkerwork  with  three  doorways  of 
rather  mean  design.  Above  is  a  fine  large 
pointed  arch,  the  principal  feature  of  the 
front,  now  filled  np  with  masonry  bnt  for- 
merly with  tracery,  A  rich  terra-cottii 
cornice  crowns  the  gable  and  encircles  the 
building, 

Sta.  Maeia  Coronata,  a  small  Renais- 
sance church,  known  familiarly  as  Sta. 
Maria  di  C'anepanova,  built  in  1402  for 
(iian  Galeazzo  Sforza  from  the  designs  of 


Bramante.  It  is  octagonal,  divided  into 
two  orders,  of  which  the  upper  is  an  open 
gallery  of  sixteen  arches  carried  on  alter- 
nate piers  and  columns,  and  crowned  by 
a  dome  ;  and  has  an  octagonal  choir,  also 
domed. 

S.  MiCHELE,  one  of  the  most  interest- 
ing of  the  Romanesque-Lombard  churches 
of  the  XI  and  xii  centuries.  It  is  cruci- 
form, with  three  aisles,  square  transejit, 
an  apsidal  choir,  and  an  octagonal  lantern 
over  the  crossing.  The  dimensions  are 
not  large,  the  width  of  nave  and  aisles  be- 
ing about  83  ft.,  transept,  124  ft.,  total 
length  183  ft.  Its  exterior  is  extremely 
rude  for  the  most  part,  both  in  design  and 
execution.  The  faQade  rises  to  a  single 
low  gable  without  a  cornice,  and  is  unbrok- 
en except  by  four  groups  of  shafts,  deco- 
rated with  zigzags  and  spiral  rope-mould- 
ings and  bas-reliefs  which,  rising  from  the 


Fig.  140. — Pavia,  Certosa,  Cloister. 

ground  to  the  rake  of  the  gable,  stop  there 
without  capitals  or  other  terminal  feature. 
The  front  is  thus  divided  into  three  nearly 


PAVIA 


equal  compiirtmeuts,  in  ouch  of  which  is  a 
i-oimd-arclied  doorway  with  sphiyed  juiiibs 
and  soffit,  very  richly  decorated  with  carv- 
ing iu  low  relief,  and  a  tympannm  bear- 
ing a  single  standing  figure  of  an  angel. 
Above  the  central  doorway  is  the  figure 
(jf  the  archangel  Micliael  standing  on  a 
dragon,  and  above  each  of  the  side  doors  a 
figure  of  a  saint.  Over  these  is  a  line  of 
double-arched  small  windows  separated  by 
inullion-shafts.  Higher  yet  in  the  central 
compartment  are  other  small  openings. 
Following  the  rake  of  the  gable  is  an 
open  gallery  of  tall  narrow  round  arches, 
carried  on  slender  shafts  resting  on  steps. 
The  lower  half  of  the  front  is  adorned 
with  horizontal  courses  of  continuous  bas- 
reliefs,  composed  mostly  of  grotesque  fig- 
ures of  birds  and  animals,  rudely  exe- 
cuted but  very  spirited  and  interesting. 
The  apse  is  divided  by  shafts,  single  and 
grouped,  running  from  ground  to  cor- 
nice, and  pierced  by  two  simple  windows 
just  under  the  sj^ring  of  the  vault.  Above 
is  an  arcaded  eaves-gallery,  the  openings 
in  groups  of  two,  divided  by  light  shafts 
witii  capital  and  base  ;  the  groups  them- 
selves by  square  piers — an  extremely  grace- 
ful and  effective  decoration.  A  tall  cam- 
panile rises  from  the  north  side  behind  the 
transe2it,  of  which  that  portion  above  the 
church  wall  is  of  comparatively  recent 
construction  and  uninteresting  in  design. 
The  interior  is  imposing.  The  nave, 
about  33  ft.  broad,  is  divided  into  four 
bays  by  strong  f)iers,  alternately  larger 
and  smaller.  On  the  faces  of  the  piers, 
vaulting  shafts  with  strong  capitals  rise  to 
take  tlic  bold  cross-ribs  of  the  simple  four- 
part  vault.  The  aisles  are  vaulted  in  the 
same  manner.  Rather  low  rouiul  arches 
with  strong  and  rude  mouldings  divide 
the  aisles  from  the  nave,  aiul  above  these 
is  a  very  broad  triforium-gallery.  opening 
from  the  nave  by  a  single  round  arch  in 
each  bay,  occupying  the  whole  space  be- 
tween the  piers  as  at  S.  Ambrogio.  Mi- 
lan {q.  v.).    The  transept  arms  are  square. 


as  wide  as  the  nave,  and  covered  by  barrel- 
vaults.  The  choir  is  a  single  square  bay, 
vaulted  like  the  nave,  witli  a  rounil  apse 
of  equal  width,  lighted  by  three  windows 
and  covered  by  a  semi-dome.  Its  raised 
floor  is  ajjproached  by  a  flight  of  thirteen 
steps,  and  under  it  is  a  fine  vaulted  crypt, 
divided  into  three  aisles  by  two  rows  of 
slender  stone  columns  of  various  forni.s 
and  with  various  capitals.  From  the  piers 
at  the  crossing  of  nave  and  transept  rises 
an  octagonal  lantern  of  two  stories  on 
squinches.  The  first  story  has  large 
round-arched  windows  occupying  nearly 
the  whole  of  each  face,  the  second  story  an 
open  gallery  of  small  arches  under  a  low 
roof.  The  walls  and  vaulting  of  the  in- 
terior are  of  red  brick,  and  the  effect  of 
warmth  and  richness  is  striking.  The 
original  church  on  this  site  was  built  in 
the  VII  cent.,  and  the  local  antiquaries 
have  struggled  to  establish  the  identity  of 
the  present  church  with  the  vii  cent, 
building.  But  the  claim  can  hardly  be 
maintained,  and  there  is  every  probability 
that  it  dates  from  the  end  of  the  xr  cent- 
ury. 

S.  Paxtaleone.  sometimes  called  Sta. 
Maria  del  Carmine,  is  a  large  and  in  many 
respects  singular  cruciform  church  of 
brick,  of  the  xiv  cent.,  with  abundant 
exterior  decoration  iu  terra-cotta.  Tlic 
front  is  divided  by  projecting  square  pi- 
lasters— awkwardly  managed  and  termi- 
nating in  tall  pinmxcles — into  five  vertical 
compartments  answering  to  the  divisions 
of  the  interior.  In  three  of  these  com- 
partments are  doorways  with  high  pointed 
arched  heads,  and  tymjiana  with  figures 
iu  relief.  Above  are  four  high  pointed 
two-light  windows  with  mullions  and 
tracery,  and  above  these  again  a  large  and 
rather  fine  rose  window.  The  front  ter- 
minates in  tlie  usual  low  gable,  with  an 
unusually  elaborate  cornice,  but  the  (!en- 
tral  division  of  it  is  cai'ried  a  little  above 
the  line.  The  original  architecture  of 
the  sides  has  been  much  changed,  but  the 


PAVIA 


ti';iiisei)t  and  eluiir  appear  to  retain  tlieir 
primitive  design,  the  angles  being  marixcd 
by  buttresses  or  pilasters  similar  to  tliose 
of  the  front,  but  without  pinuacles,  be- 
tween which  are  high-pointed  windows 
witli  trefoiled  heads,  and  a  large  circular 
window  above.  These  portions  are  also 
much  decorated  with  terra-cotta.  A  fine 
bell-tower  with  a  rich  belfry  stage  rises 
from  the  intersection  of  the  south  tran- 
sept and  the  choir.  The  interior,  also  in 
brick,  consists  of  a  nave  with  four  square 
vaulted  bays,  each  with  two  arches  opening 
into  the  side  aisles,  which  are  vaulted  like 
the  nave  but  with  double  the  number  of 
bays.  A  line  of  chajpels  opens  from  each 
aisle,  giving  great  width  in  proportion  to 
the  length.  The  transept  arms  and  choir 
are  each  vaulted  in  a  single  bay.  The 
high  clerestory  is  jjierced  only  by  small 
round  openings. 

S.  PiETKO  IN  CiELO  d'Oho,  a  XII  cent, 
church,  with  nave,  aisles,  and  clerestory, 
a  transept  not  jirojecting  beyond  the  aisle- 
walls,  a  central  octagonal  lantern  over  the 
cro.ssing,  and  a  round  apse  opening  from 
the  eastern  wall  of  the  transept  without 
any  intervening  tribune  or  choir.  Its 
total  length  is  about  IGO  ft.,  its  breadth 
about  78  ft.  The  floor  of  the  church  is 
some  .5  ft.  below  the  threshold  of  the  west 
door.  The  nave  and  aisles  have  five  bays ; 
those  of  the  nave  being  oblong,  those  of 
the  aisles  square,  distinguishing  this 
church  from  the  ordinary  Lombard  type. 
The  piers  are  composite  with  an  engaged 
column  or  pilaster  on  each  face.  Both 
nave  and  aisles  are  covered  with  four- 
part  vaults,  excepting  the  westernmost 
bay  in  each,  which  is  barrel  -  vaulted. 
Each  bay  of  the  aisles  has  a  simple  round- 
headed  window,  and  the  clerestory  windows 
are  similar.  The  crossing  is  covered  by 
an  octagonal  lantern,  vaulted  internally, 
the  transej^t  by  barrel-vaults.  The  ap.se 
was  lighted  by  three  or  five  round-headed 
windows,  and  covered  by  a  hemispherical 
semi-dome.     A  crypt,  now   virtually  de- 


stroyed, extends  under  the  apse  and  un- 
der the  crossing.  It  was  divided  into  five 
aisles,  vaulted  on  small  columns.  The 
front  is  covered  by  one  low  gable,  mask- 
ing all  the  roofs  behind,  and  divided  into 
three  compartments  by  two  unequal  but- 
tresses, one  of  which  contains  a  spiral  stair. 
The  lower  half  of  each  compartment  is 
occupied  by  a  blind  arch,  the  middle  one 
containing  a  doorway  with  curiously  dec- 
orated jamb-pilasters  and  shafts,  a  round 
arch,  and  a  low  sculptured  gable.  These 
three  blind  arches  aiiparently  correspond 
to  the  arches  of  a  great  vaulted  porch, 
traces  of  which  are  still  to  be  seen  on  the 
pilasters  of  the  front.  Above  are  two 
ranges  of  small  windows  in  the  centre. 
An  arcaded  gallery  follows  the  rake  of 
the  gable.  The  apse  also  has  buttresses, 
of  greater  projection,  and  above  them  an 
arcaded  eaves-gallery.  The  low  lantern  is 
terminated  by  an  open  gallery  of  arches 
on  columns.  The  church  was  consecrated 
in  1132,  by  Pope  Innocent  II. 

S.  Teodoro,  a  late  Lombard  church 
of  brick,  with  nave,  aisles,  clerestory,  and 
transejit  —  not  projecting — three  eastern 
apses,  and  a  central  octagonal  lantern.  Its 
dimensions  are  small,  about  107  ft.  by  55 
ft.  Its  exterior  is  simple  Eomanesque, 
the  front  in  three  divisions  separated  by 
square  buttresses,  the  central  division  con- 
taining a  round-arched  doorway  with  some 
ancient  sculpture,  and  a  rose  -  window 
above,  a  single  low  gable  covering  the 
whole.  The  side  buttresses  are  joined  to 
those  of  the  clerestory  by  hidden  flying 
buttresses,  carried  on  the  cross-ribs  of  the 
aisle-vaults,  and  showing  through  the  aisle 
roofs  like  ascending  parapets.  The  tran- 
sept walls  end  in  low  gables.  The  three 
apses  are  divided  by  slender  round  shafts 
with  capital  and  base,  ending  in  an  arched 
corbel-table  and  simple  cornice,  with  an 
octagonal  tiled  roof.  The  plain  windows 
are  everywhere  round-headed.  A  charac- 
teristic central  lantern  over  the  crossing 
leaves  the  roof  as  a  square,  and  changes  to 


2S3 


PERGA 


ail  octagon  with  an  areailecl  irallery  decor- 
ated witli  round  plaques  of  majolica  in 
the  spandrels,  antl  with  two  smaller  stages 
above.  The  interior  shows  a  nave  and 
aisles  of  three  bays  each,  square  in  the 
former  and  oblong  in  the  latter,  anticipa- 
ting tiie  system  of  the  later  (fothic 
elnirches  of  Italy.  The  piers,  bearing 
round  arches,  are  comjfosed  of  a  square 
witii  four  engaged  shafts.  Tiie  nave  and 
aisles  are  covered  with  unribbed  four- 
part  vaults.  The  bays  of  the  transept  are 
carried  to  a  greater  lieight.  the  central 
one  being  covered  by  tlie  vaulted  octag- 
onal lantern,  thi^  sides  by  barrel-vaults. 
The  floor  of  the  transept,  raised  some  (! 
ft.  above  that  of  the  nave,  is  approached 
by  three  broad  flights  of  steps  from  nave 
and  aisles.  Three  apses  open  from  its 
east  wall,  the  central  one  somewhat  larger 
and  deeper  than  the  others.  The  crypt, 
extending  under  the  whole  of  the  transept 
and  its  three  af)ses,  is  divided  into  seven 
aisles  by  small  columns,  and  vaulted 
throughout  in  square  bays.  The  whole 
interior  of  the  church  exeejst  the  columns 
is  (if  brick.  The  capitals  are  of  rude  and 
rather  inferior  character.  There  is  no 
accurate  record  of  the  date  of  this  cliurcli, 
but  it  may  in  its  present  form  probaldy 
be  referred  with  safety  to  the  middle  or 
end  of  the  xii  century.  St.  Theodore,  who 
was  bishop  of  Pavia  766-778,  was  buried 
in  S.  (liovanni  in  Borgo,  but  his  body  was 
later  transferred  to  this  church. 
I'EUGA,  I'amphylia,  Asia  Minor. 

iST.YDiUM,  near  the  theatre.  Nine  tiers 
of  seats  with  their  vaulted  substructions 
remain  practically  perfect ;  l)etween  these 
and  the  surviving  podium  bordering  the 
ai'ena  there  were  probably  three  more 
tiers  of  seats.  Above  the  existing  seats 
lliere  appears  to  have  been  a  colonnaded 
gallery.  The  long  axis  is  771  ft.,  the 
width,  19-i  ft.  ;  axis  of  the  arena,  73;:^  ft.  ; 
width  of  the  arena,  11.5  ft.  There  is  an 
arched  passage  througli  to  the  arena  in 
the  middle  of   the  spheiidn)te  or  semicir- 


cular I'ud.  Fellows  describes  it  as  quite 
perfect  at  the  time  of  his  visit  (about  1840), 
including  the  seats  on  both  sides. 

The.\tre,  of  the  time  of  Trajan  or  of 
Hadrian  (98-138  a.d.).  IS'ext  to  that  at 
Asjjendos,  it  is  the  finest  and  best  pre- 
served ill  Asia  Minor.  The  diameter  is 
330  ft.  ;  the  seats,  of  ogee  jirofile,  consist 
of  forty  tiers,  which  are  mostly  in  place  ; 
tlie  material  is  gray  marble.  The  facade 
of  the  stage-structure  is  in  good  preser- 
vation ;  it  has  five  great  niches,  32  ft.  to 
30  ft.  high,  with  columns  of  red-veined 
breccia  between  them.  The  theatre  is  in 
great  part  built  up  of  masonry ;  at  the 
top  of  the  steep  cavea  is  a  gallery,  which 
was  arcaded  at  the  back  and  colonnaded 
in  front.  There  is  one  diazoma  or  hori- 
zontal passage,  and  in  the  lower  divisions 
thirteen  radial  stairways. 
PERGAMOX,  Mysia,  Asia  Minor. 

Great  Altau  of  Zeus,  erected  by 
Enmenes  11.,  in  the  first  half  of  the  ii 
cent.  B.C.,  in  course  of  the  extension  and 
beautifying  of  the  city  which  followed  the 
Pergamene  triumphs  over  the  Gauls.  It 
rose  in  the  middle  of  the  higher  terrace 
of  the  agora,  and  consisted  primarily  of  a 
great  base  98  ft.  square  and  al)out  19  ft. 
high,  in  masonry  of  conglomerate  cased 
in  marble,  and  resting  on  a  triple  plinth. 
On  the  west  the  base  was  cut  into  by  a 
broad  flight  of  steps  between  jjrojecting 
piers.  In  the  middle  of  the  top  rose  the 
altar  proper,  formed  like  that  of  Olympia, 
chiefly  of  the  ashes  of  sacrificial  victims 
heaped  together.  This  area  was  surround- 
ed by  graceful  Ionic  porticoes  facing  out- 
ward, their  back  walls  being  turned  toward 
the  ash-altar.  The  sides  of  the  base  were 
surrounded,  above  a  plain  die  crowned  by 
mouldings,  by  tlic  noted  (ireat  Frieze  of 
Pergamon.  sculjitured  in  high  relief  with 
the  varied  scenes  of  an  extensive  Gigau- 
tomachy.  These  sculptures,  which  rejjre- 
sent  a  new  development  of  Greek  art,  are 
full  of  vigor  and  movement,  while  lacking 
the  stately  repose  of  the  older  Greek  art. 


284 


rEKGAMON 


aiul  ill  their  expression  ui'  the  jiassions 
they  approach  the  standpoint  of  modern 
art.  This  frieze,  7i  ft.  high,  was  eapped 
by  a  riehly  moulded  and  wi(k'ly  project- 
ing cornice.  The  interior  walls  of  the 
porticoes  were  adorned  by  the  Small 
Frieze  of  Pergamon,  about  half  of  which 
has  been  recovered,  and  is  now,  together 
with  the  surviving  portions  of  the  (ireat 
Frieze,  in  Berlin.  Its  subjects,  taken 
from  local  Pergamene  history,  are  of  less 
interest  than  the  Uigantomachy. 

The  Amphitheatre  may  be  assigned  to 
the  beginning  of  the  ii  cent,  a.d.,  though 
its  exact  date  has  not  been  ascertained. 
The  plan  is  elliptical,  the  greater  axis  -i-Ht 
ft.,  the  less -1:03  ft.  ;  the  arena  is  lo:  ft.  by 
85  ft.  The  principal  arched  entrances 
were  at  the  ends  of  the  greater  axis,  which 
lies  nearly  north  and  south.  The  outer 
wall  had  forty-two  other  arches,  separated 
by  piers  as  wide  as  the  arches.  There  are 
about  thirty  tiers  of  seats ;  the  first  tier 
being  below  the  level  of  the  soil  without. 
The  height  of  the  massive  piers  and 
arches  of  the  exterior  walls  reaches  85  ft. 
The  seats  are  supported  on  very  skilfully 
planned,  rising,  funnel  -  shaped  vaults. 
The  brook  which  flowed  directly  beneath 
the  arena  in  antiquity,  and  was  vaulted 
over,  doubtless  supplied  facilities  for  con- 
verting the  amphitheatre  into  a  uau- 
niachy.  The  building,  still  very  impres- 
sive in  its  mass,  exhibits  great  technical 
excellence  in  its  design  and  execiition. 

The  AscLEPiEUJi,  or  Sanctuary  of 
Asklepios  (^Esculapius),  as  yet  incom- 
pletely explored.  This  Corinthian  tem- 
ple, which  appears  to  have  been  impor- 
tant, was  approached  by  a  monumental 
covered  way  starting  from  the  arched 
gate  beside  the  theatre,  and  extending  the 
entire  distance.  The  roadway,  12|  ft. 
wide,  was  bordered  on  each  side  by  a 
range  of  piers  set  at  intervals  of  8  ft. .  and 
finished  on  the  exterior  side  as  Doric 
semi-columns.  The  piers  were  built  of 
large  blocks  of  trachyte. 


The  Basilica,  which  has  been  called 
the  Thermge,  is  the  most  imposing  of  the 
Iioman  ruins  of  Pergamon.  It  was  a  huge 
structure  of  three  aisles,  to  the  east  side  of 
which  other  buildings  were  joined.  The 
nave  terminated  in  an  apse  flanked  by 
two  circular,  tower-like,  domed  buildings. 
The  masonry  was  partly  of  bi'ick,  partly 
of  trachyte  blocks,  sheathed  with  marble 
wherever  the  walls  were  exposed  to  view. 
The  cornices  were  supported  by  rich  con- 
soles. The  columns  of  the  interior  were 
handsome  monoliths  of  gray  and  pink 
granite.  The  early  Christians  appro- 
priated this  basilica  for  a  church,  and 
converted  the  two  domed  buildings  into 
chapels  of  St.  John  the  Evangelist  and 
St.  Antipas.  The  breadth  of  the  basilica, 
including  the  two  circular  buildings,  was 
over  330  ft.  From  these  buildings  a  court 
nearly  700  ft.  long  extended  toward  the 
east,  enclosed  by  a  high  wall  adorned  on  the 
outside  with  marble  columns.  To  obtain 
space  for  this  court  the  Selinous  Eiver  w'as 
bridged  for  a  distance  of  nearly  G50  ft.,  a 
truly  remarkable  accomplishment,  w^hich 
remains  perfect  to  this  day.  The  bridge 
consists  of  tw' o  massive  parallel  barrel- vaults 
of  'ii>^  ft.  span,  each  resting  on  one  side  on 
the  bank  and  on  the  other  on  a  continuous 
wall  in  the  middle  of  the  river-bed. 

Gtmxasium  of  the  Ne'ot,  or  Youths, 
of  Roman  date.  The  western  jiortion 
formed  a  court  about  250  ft.  by  120  ft., 
surrounded  by  porticoes  presenting  four- 
teen columns  on  the  small  sides  and 
twenty-nine  on  the  others.  The  capitals 
are  Corinthian,  of  manifestly  Roman  de- 
sign, and  the  workmanship  is  sujjerficial. 
An  inscription  shows  that  the  gymnasium 
was  not  an  imperial  foundation,  but  was 
established  by  private  citizens  of  Perga- 
mon. On  the  slope  above  the  X.  W.  cor- 
ner of  the  court  lie  the  remains  of  a  semi- 
circular structure  108  ft.  in  diameter. 
This  was  apparently  an  odeum,  and  its 
stage-structure  must  have  stood  upon  the 
roof  of  the  portico. 


PERGAMON 


The  Pergamexe  Libkary.  instituted 
by  Eumeues  II..  a  foiuidatiou  famous  in 
antiquity,  and  second  only  to  the  great  li- 
brary of  Alexandria,  is  recognized  by  Conze 
in  four  large  rooms  communicating  on  tlie 
west  side  with  a  number  of  other  rooms, 
lying  above  the  terrace  of  Athena.  Stone 
framing,  secured  to  the  walls  by  metal 
clamps,  received  wooden  shelves  on  which 
the  manuscripts  were  ranged.  The  li- 
brary was  adorned  with  a  large  statue  of 
Athena,  and  statues  or  busts  of  famous 
authors. 

Templk,  presumed  to  be  of  Diouysos. 
It  was  Doric,  prostyle,  tetrastyle,  of 
marble,  on  a  stereobate  of  two  steins, 
affording  an  interesting  example  of  the 
free  treatment  of  old  Doric  forms  in  the 
Hellenistic  time.  The  columns,  10|  ft. 
high,  had  twenty  flutes  sejjarated  by  fil- 
lets, and  rested  on  widely  projecting 
bases.  The  echinus  is  carved  with  leaves, 
and  the  upper  angles  of  the  triglyphs  dis- 
play small  acanthus-leaves.  The  soffit  of 
the  cornice  is  ornamented  with  diagonally 
intersecting  lines  and  with  rosettes,  and 
the  cyma  exhibits  ornament  of  foliage  and 
tendrils  and  satyr  masks  for  waterspouts. 
The  dimensions  are  24|  ft.  by  41  ft. 

Temple  (Ionic),  of  the  best  Greek  work, 
on  a  massive  platform  at  the  north  end  of 
the  great  terrace  on  the  western  slope  of 
the  acropolis.  The  walls  and  the  ornate 
doorway  arc  standing  to  about  half  of 
their  original  height. 

Temple  of  Athexa  Polias  (Pallas  as 
Defender  of  the  City),  on  the  terrace  of 
the  acropolis  immediately  above  that  of 
the  Altar  of  Zeus.  Only  the  lowest  parts 
of  the  foundations  remain  in  place,  but 
all  the  architectural  members  have  been 
recovered  and  render  possible  a  comjilete 
restoration.  The  temple,  which  was  ori- 
ented north  aiul  soutli,  w;is  Doric,  perip- 
teral, hexastyle,  with  ten  columns  on 
the  flanks,  and  measured  42|  ft.  by  72  ft. 
The  height  of  the  columns  was  17^  ft.  ; 
their  base-diameter  was  2,47  ft.;  the  neck- 


diameter  1.08  ft.  The  shafts  had  hut 
little  entasis.  The  neck  of  the  shafts  on 
the  capital-blocks  is  channelled,  but  the 
remainder  of  the  shafts  was  left  smooth, 
showing  that  the  temple  was  never  fin- 
ished. The  entablature  was  proportion- 
ately very  low,  and  there  were  two  tri- 
glyphs over  every  intercolumniation.  The 
metopes  were  plain,  and  no  signs  of  pedi- 
ment-sculptures have  been  found.  The 
cella  had  pronaos  and  opisthodomos,  each 
witli  two  columns  in  nntis,  and  was  prob- 
ably divided  into  two  chambers.  The 
date  of  the  temple  is  assigned  to  the  iv 
century  B.C. 

The  Terrace  surrounding  the  temjile 
was  bordered  on  the  north  and  east  sides 
by  handsome  ijorticoes  of  two  stories  on  a 
stylobate  of  three  steps.  The  lower  order 
was  Doric,  with  very  slender  columns,  and 
three  triglyphs  over  every  intercolumnia- 
tion, surmounted  by  a  blocking-course  on 
which  rested  the  second  order  of  columns. 
This  was  Ionic,  but  bore  a  Doric  frieze, 
which  had  four  trigl}^Dhs  over  every  inter- 
columniation. In  the  intercolumniations 
of  the  second  story  was  a  solid  )iarapct 
whose  slabs  were  sculptured  with  military 
trophies.  The  north  portico,  which  was 
of  more  than  double  width,  had  an  inner 
range  of  columns,  set  opposite  every  sec- 
oiul  column  of  the  fa(;ade.  These  col- 
umns had  Attic  bases,  smooth  shafts, 
aiul  bell-capitals  of  peculiar  form.  The 
fa(,'adcs  of  the  porticoes  were  of  marble, 
and  their  back  walls  of  trachyte  encrusted 
with  the  same  material,  adorned  by  niches 
for  statues,  framed  by  small  Doric  and 
Ionic  semi-columns  surmounted  by  an  en- 
tablature. At  the  south  end  the  east 
jiortieo  abutted  against  a  massive  square 
tower,  adjoining  which,  at  the  back  of 
the  portico,  was  the  chief  en;raiici'  to  the 
enclosure.  This  was  a  projiylon  witli 
four  interior  columns,  tetrastyle  on  its  (>x- 
terior  face,  which  was  of  the  sanu'  archi- 
tectural disposition  as  the  interior  ])or- 
ticoes,  but  more  richly  ornamented.     Pro- 


PERUGIA 


pylon  and  porticoes  are  ascribed  to  King 
Eumenes  II.  In  the  Temple  of  Atlieua 
Polias  were  dedicated  the  spoils  of  tlie 
Gauls,  and  the  bacli  walls  of  the  porticoes 
bore  paintings  commemorative  of  their 
overthrow. 

The  Temple  of  Julia,  daughter  of 
Augustus,  was  a  small  peripteros,  almost 
all  of  whose  architectural  members  sur- 
vive, though  no  longer  in  position.  It 
was  evidently  pulled  down  in  Byzantine 
times,  and  its  materials  used  to  strengthen 
the  fortifications  of  the  acrojDolis.  Here 
they  have  remained,  so  that  the  temple, 
like  that  of  Xike  Apteros  at  Athens,  might 
doubtless  be  rebuilt. 

Temple  of  Tkajan,  or  Augusteum. 
Tlie  architectural  remains  are  of  great 
size,  in  part  very  well  preserved,  and  tes- 
tify to  the  splendor  of  the  temple.  This 
temjile,  in  the  same  manner  as  that  of 
Athena,  was  surrounded  on  three  sides 
by  porticoes  of  one  story,  that  on  the 
north  raised  on  a  plain  basement  13  ft. 
high.  The  temple  was  of  white  marble, 
Corinthian,  peripteral,  hexastyle,  with 
nine  columns  on  the  flanks.  The  height 
of  the  columns  was  32  ft.  The  cella  had 
the  form  of  a  temijle  /w  antis.  Between 
the  consoles  of  the  cornice  bronze  rosettes 
were  introduced.  The  acroteria  were  rich 
anthemia  sujjporting  figures  of  Kike. 
The  frieze  was  sculptured  with  Gorgon- 
heads  separated  by  volute  ornaments. 
The  temple  stood  on  a  basement  about 
10  ft.  high,  with  a  fiight  of  steps  between 
piers  in  front.  Its  dimensions  were  6.35 
ft.  by  108  ft.  The  capitals  of  the  por- 
ticoes are  of  the  type  of  those  of  the 
Tower  of  the  Winds  at  Athens,  with  a 
range  of  acanthus-leaves  below  and  plain 
pointed  leaves  above.  Of  two  monumental 
exedras  in  the  temple-court,  one  rectangu- 
lar, the  other  semicircular,  the  first  dates 
from  Attains  II. 

Greek  Theatre.  The  cavea  had 
about  ninety  tiers  of  seats,  most  of  which 
are  still  in  place.     There  are  two  diazo- 


mata  or  horizontal  passages  of  commu- 
nication, and  the  bounding-walls  of  the 
cavea  are  polygonal  and  cut  it  consider- 
ably short  of  the  normal  curved  outlines. 
The  pavement  of  the  orchestra  no  longer 
exists.  The  lintel  of  its  northern  en- 
trance is  sculptured  with  masks  and  bears 
an  inscription  of  dedication.  This  thea- 
tre is  ascribed  by  the  arcliitect  Bohn,  like 
the  Great  Altar,  to  the  reign  of  Eumenes 
II. 

Eoman  Tiieatke,  supported  in  part 
against  the  hillside,  and  on  the  two  wings 
upon  radial  vaulted  substructions.  There 
ajjpcars  to  have  been  a  gallery  of  columns 
above  the  uppermost  tier  of  seats.  The 
orchestra  and  the  foundations  of  the 
stage-structure  are  silted  uji  and  have 
not  been  explored ;  the  stage-structure 
was  adorned  with  Corinthian  columns. 
The  diameter  of  the  cavea  is  nearly  400 
ft.  Against  the  exterior  of  the  south 
wing  still  stands  an  arched  gateway  of 
trachyte,  corresjionding  to  an  ancient 
street. 

TiiERMiB.     See  Basilica. 
PERUGIA  (anc.  Perusia),  Italy. 

Arch  of  Augustus,  so-called,  an  an- 
cient gate  of  the  city,  Eti'uscan  in  its 
lower  portions,  and  of  the  time  of  Augus- 
tus above.  The  Etruscan  part,  with  the 
two  projecting  bastions  which  flank  it,  is 
built  of  large  blocks  of  travertine  laid 
witliout  cement.  Above  the  arch,  which 
is  about  30  ft.  high,  there  is  a  frieze  with 
six  little  i^ilasters  of  Doric  type,  between 
which,  in  spaces  corresjjonding  to  metoijcs, 
are  circular  shields  in  relief.  Over  this 
frieze  there  is  a  second  arch,  now  blocked 
between  two  pilasters.  The  total  height 
is  63  ft.  The  flanking  bastions  are 
crowned  by  graceful  arcaded  loggie  of  the 
XV  century. 

The  Cathedral,  dedicated  to  S.  Lo- 
renzo, is  a  Gothic  church  dating  from  the 
beginning  of  the  xiv  cent.,  but  much 
changed  and  injured  by  modern  restora- 
tions.    It  has  a  nave  and  aisles  about  65 


PEEUGIA 


ft.  wide,  in  five  bays  covered  by  four-part 
vaulting,  divided  by  octagonal  stuccoed 
brick  jjicrs,  and  carrying  pointed  arches. 
The  transcjit  arms  2iroject  by  a  single  nar- 
row bay  beyond  the  aisle  walls.  The 
choir  is  square,  with  a  polygonal  apse  and 
a  square  chajiel  on  either  side,  and  behind 
the  northern  chapel  rises  a  small  bell- 
tower.  The  exterior  has  been  much  trans- 
formed ;  many  of  the  jwinted  windows 
have  been  walled  np.  The  unfinished 
front  has  a  single  central  doorway  and  a 
wheel  window  over  it,  once  filled  with 
stained  glass.  A  side  porch  opens  into 
the  aisle  on  each  flank,  and  by  the  side  of 
the  northern  porch  is  an  exterior  pulpit 
corbelled  out  from  the  wall,  its  sides 
panelled  and  decorated  with  tracery  and 
mosaic. 

The  CoLLEGio  DEL  Camrio,  the  Hall  of 
the  Bankers  or  money-changers,  is  a  small 
apartment  adjoining  the  Palazzo  Vecchio 
in  the  Corso,  scarcely  more  than  16  ft. 
wide  and  2i  ft.  long,  remarkable  for  the 
beanty  of  its  pictorial  and  other  decora- 
tion. The  walls  are  wainscoted  with 
panels  filled  with  delicate  wood-inlay  and 
Renaissance  carving  of  great  excellence, 
and  covered  above  with  frescoes  of  sibyls, 
prophets,  historical  and  allegorical  figures. 
The  vaulted  ceiling  is  also  covered  with 
frescoes  of  similar  character,  varied  by 
arabesques.  Opening  from  this  room  is 
a  small  chapel  or  oratory  of  nearly  the 
same  size,  and  decorated  in  a  similar 
manner.  All  this  decoration  is  the  work 
of  Pietro  Perugino  and  of  his  pupils, 
Raj^hacl  i)crhaps  included,  and  dates  from 
the  latter  half  of  the  xvi  century. 

CoxvENT  OF  Sta.  Giuliaxa.  Tliis 
Cistercian  nunnery  is  a  fine  cxamj)le  of 
early  Italian  Gothic.  Its  buildings  re- 
main almost  entire,  though  mutilated  by 
vandalic  use  as  a  military  storehouse  and 
hospital.  The  church  has  a  simple  nave 
with  square  apse,  and  is  built  of  stone. 
To  its  left  is  the  entrance  to  the  fore- 
court, surrounded  by  halls,  some  of  whicli 


are  still  arched,  but  have  wnndon  roofs. 
Opposite  the  apse  of  the  church  the  inner 
court  or  cloister  is  reached,  one  of  the 
most  perfect  in  Italy,  and  round  it  are 
grouped  several  interesting  vaulted  struct- 
ures. The  cloister  has  five  wide  pointed 
arches  on  each  side,  supjiorted  on  octa- 
gonal columns  with  Tuscan  foliated  capi- 
tals. The  low  and  wide  groined  vaults 
have  pentagonal  ribs  that  rest  on  consoles 
against  the  wall.  Each  side  of  the  cloister 
measures  110  ft.  The  second  story  is 
perfectly  preserved,  whicli  is  almost  never 
the  case,  and  is  more  elegant  in  its  pro- 
jiortions.  A  broad  blind  pointed  arch 
corresjionds  to  each  bay  below,  and  within 
it  three  pointed  arches  are  supported  on 
double  marble  shafts  placed  on  a  line  with 
the  wall.  The  material  is  brick.  Eound 
tlie  cloister  are  grouiied  the  monastic 
buildings.  The  cajiitulary  hall  divided 
into  three  aisles  of  five  bays  by  eight  col- 
umns supporting  ribbed  groin-vaults,  is 
especially  good.  The  same  vault  is  also 
used  in  all  the  other  halls,  including  re- 
fectory, mortuary  chapel,  kitchen,  etc. 
Underneath  the  kitchen  is  a  cellar  with 
tunnel-vault.  To  the  right  rises  a  fine 
bell-tower.  The  cloister  and  several  of 
the  halls,  especially  the  chapter-house,  are 
still  decorated  with  frescoes,  some  of  the 
xiv  and  xv  cents.,  but  a  large  part  of  the 
second  half  of  the  xiii  century.  The  nun- 
nery was  aiJjDroved  after  its  construction 
by  Pope  Boniface  IV.,  in  1253,  which 
gives  the  date  of  the  buildings.  Its  archi- 
tecture is  worthy  of  careful  study,  not 
only  for  its  beauty,  but  because  it  is  a  fine 
example  of  the  second  period  of  the  Gothic 
form  of  Italian  Cistercian  architecture, 
during  which  the  French  forms  were 
thrown  off  and  native  forms  of  construc- 
tion and  decoration  developed.  [A.  L. 
F..  Jr.] 

FoxTE  Maggiore,  the  great  fountain 
in  the  Piazza  del  Papa,  the  square  be- 
tween the  cathedral  and  the  Palazzo  Pub- 
blico,  is  one  of  the  finest  in  Europe.     It 


288 


MILAN— PIAZZA   DEI  MBRCANTf 


'letl,  bnt 


PERUGIA 


_^^^, y 


Fig    Ml  — Perugr,^,  f-.-nle   MaggiO'e. 

dates  from  tlie  last  quarter  of  the  xiii 
cent.,  and  consists  of  two  great  polygonal 
basins  of  marble,  the  lower  some  oO  ft.  in 
diameter,  raised  on  four  surrounding  steps, 
the  upper  lifted  on  columns  rising  out  of 
the  water.  Each  basin  has  twenty-four 
sides,  the  angles  of  the  lower  basin  marked 
by  grouped  colonnettes  of  varied  and  del- 
icate design,  those  of  the  upper  by  figures 
nearly  detached,  and  the  panels  of  the 
lower  basin  charged  with  admirable  bas- 
reliefs  by  Giovanni  and  Niccolo  Pisano. 
From  the  centre  of  the  upper  basin  rises  a 
massive  column  of  bronze  supporting  a 
third  basin  in  the  form  of  a  tazza,  also  of 
bronze,  in  tlie  middle  of  which  stands  a 
group  of  three  water-nymphs  by  Rosso. 
l»e  Fiji.  HI.) 

The  t>i:ATOKY  of  S.  Bekxakdixo  is  a 
small  chapel  belonging  to  one  of  the  nu- 
merous confraternities,  and  remarkable  foi- 
its  beautiful  early  Renaissance  fa9ade,  so 
small  as  to  be  scarcely  more  than  a  great 
doorway  arch  with  its  flanking  jiilasters 
carrying  an  entablature  and  pediment. 
The  arch  is  deeply  recessed,  enclosing 
square  twin  doorways  surrounded  by  ar- 
chitraves bearing  an  arabesque  ornament 
in  relief,  aiul  springs  from  bold  square 
piers,  each  of  which  bears  on  its  face  two 
jjedimented     niches    containing    statues. 


Tile  jaml)s  of  the  arch  arc  cn- 
riclied  with  niches  and  reliefs 
Hanked  by  classic  pilasters  ;  its 
-ollit  is  coffered,  and  the  tym- 
I  lanum  bears  in  relief  the  statue 
if  the  saint  surrounded  by  a 
nimbus,  and  flanked  by  flying 
angels  and  winged  cherubs.  In 
the  pediment  is  a  group  repre- 
senting the  Saviour  throned, 
with  adoring  angels  and  cher- 
II lis.  The  facjade  is  of  red  mar- 
l)k',  the  architectural  decora- 
tions of  white,  or  yellow,  the 
.;.  ---  -^  -  sculpture  partly  of  white  mar- 
ble and  partly  of  glazed  terra- 
cotta, white  on  a  blue  ground. 
The  whole  decoration  is  so  exquisite  in 
feeling  and  so  admirable  in  execution  as 
to  make  this  small  fagade  deserving  of  a 
place  among  the  highest  works  of  the 
Renaissance.     The  sculjoture  is  attributed 


Fig.  142. — Perugia,  S.  Bernardino. 


PERUGIA 


to  Agostiiio  Duoci,  and    the  friuzo  bears 
tlie  date  UiU.     {.^ee  Fiy.  H2.) 

Tlie  Palazzo  Plbblico,  the  old  Gothic 
municiijal  jjalaceof  the  xiv  cent.,  is  much 
patched  and  altered  in  parts  to  adajit  it  to 
its  modern  uses,  but  retains  its  jirincipal 
features  substantially  unchanged.  It  is 
a  rectangular  building  in  two  principal 
stories,  with  two  facades,  the  longer  front- 
ing the  Corso  or  main  street  of  the  town, 
the  other  the  Piazza,  opposite  the  cathe- 
dral. In  the  longer  fa9ade  is  a  broad  and 
high  round-arched  recessed  doorway,  and 
on  its  left  a  high  arch  by  which  a  narrow 
street  is  taken  through  the  building  and 
down  the  hill  in  the  rear.  Over  the  arch 
a  simple  bell-tower  of  no  great  height  rises 
from  the  roof.  The  lower  story  is  an  ar- 
cade of  plain  pointed  arches  concealed 
where  it  fronts  the  square  by  a  monu- 
mental stair  leading  to  an  arcaded  plat- 
form from  which  the  second  story  is  en- 
tered. The  windows  of  this  story  are 
triijle  pointed  openings  divided  by  slender 
shafts    and    enclosed    in    square    panels. 


Fig.  143 —Perugia,  Pal.  Pubblico. 

Above  these  is  a  broad  space  of  blank  wall 
representing  a  mezzanine  story,  with  open- 
ings only  on  the  court,  and  above  this 
again  the  range  of  windows  of  the  ]irin- 
cipal   story,  consisting  of   triple   pointed 


oiJenings  under  a  round  bearing-arch  with 
traceried  head,  and  covered  each  by  a  low 
gable.  On  this  floor  are  the  picture  gal- 
lery and  the  public  library.  The  wall  is 
finished  by  an  arched  corbel-table  and  a 
fringe  of  restored  battlements.  {See  Fuj. 
H3.) 

SS.  AxGELl,  an  early  Christian  building 
of  the  V  cent.,  restored  in  the  xiii  cent., 
but  retaining  some  of  its  ancient  features. 
It  is  a  circular  building,  perhajjs  origin- 
ally a  baptistery,  with  a  central  ring 
about  45  ft.  in  diameter,  enclosed  by  six- 
teen antique  columns,  arranged  in  pairs, 
alternately  larger  and  smaller,  supporting 
round  arches.  The  surrounding  aisle  is 
now  enclosed  by  a  wall  in  which  are  to  be 
seen  portions  of  a  second  circle  of  twenty- 
eight  columns,  which  indicate  that  the 
building  had  originally  an  outer  aisle  in 
accordance  with  the  common  plan  of  the 
early  baptisteries.  This  has  disappeared, 
and  in  its  place  were  added  four  project- 
ing wings,  those  on  the  west,  north,  and 
south  square  in  plan,  that  on  the  east  a 
semicircular  apse.  Over  the 
central  ring  of  columns  the  wall 
is  carried  up  above  the  roof  of 
the  surrounding  aisle,  pierced 
with  windows,  and  covered  witli 
a  low  jiitched  conical  roof.  The 
west  end  has  a  fine  (Jothic  door- 
way, of  the  Mil  or  xiv  century. 
Sta.  (in  i.iaxa.  fieeCnnreiif. 
S.  PiKTuo  DEI  Casixkxsi,  an 
interesting  basilica  n  rhurrli 
jirobably  dating  from  tlie  vi 
cent.,  with  a  Gothic  choir  added 
jK'rhaps  in  the  xiv  cent.,  for- 
merly attached  to  a  Benedictine 
monastery.  It  has  a  nave  36  ft. 
wide,  with  aisles  vaulted  in 
square  bays  and  divided  from  the 
nave  by  two  rows  of  nine  antique  Ionic  col- 
umns of  red  granite  and  gray  marble  carry- 
ing arches,  a  transept  not  jirojecting  beyond 
the  aisle-walls,  and  a  square  groined  vault 
over  the  crossing,  with  a  polygonal   apse 


PESAEO 


also   groined.      Tlie  flat   coffered   coiling     panels  in    the    intervals.     The  great  en- 
)f  the  nave  was  added  by  Benedetto  da     closed  court  is  on  the  level  of  this  story. 


ilontepulciano  in  1,553,  and  its  nnpierced 
walls  are  covered  with  paintings 
by  Aliense.  At  the  west  end  of 
the  church  is  a  square  cloister, 
with  vaulted  arcades  on  Tus- 
can columns.  The  church  con- 
tains some  interesting  jjictures 
by  Perugino,  Kaphael,  Parmeg- 
giauo,  and  other  masters.  The 
choir-stalls  are  remarkable  for 
tlieir  exquisite  wood  -  carving. 
{See  Fiq.  1U-) 
PESARO,  Italy. 

Palazzo  Puefettizio.  the 
ancient  jjalace  of  the  dukes  of 
Urbino,  built  at  the  beginning 
of  the  XVI  cent.,  from  the  de-  _ 
signs  of  Bartolommeo  Genga.  It 
has  a  facade  about  125  ft.  long 
iu  two  stories,  of  which  the  lower  is  an  open 
arcade  of  six  round  arches  springing  from 
low  piers  of  rustic  stone-work,  while  tlie 
nj^per  has  a  perfectly  jjlain  wall,  with  five 
rectangular  windows  enclosed  by  Corinthi- 
an engaged  columns  supporting  an  entab- 
lature. A  balcony  projects  from  the  mid- 
dle window.  The  front  is  crowned  by  a 
strong  simple  cornice.  The  interior  con- 
tains some  fine  rooms,  notably  a  great  hall 
50  ft.  wide  and  130  ft.  long,  with  a  deep- 
ly panelled  wooden  ceiling  decorated  with 
paintings. 

Villa  Moxte  Imperiale,  an  extensive 
country-house  of  the  dukes  of  Urbino, 
built  in  the  early  part  of  the  xvi  cent. 
from  the  designs  of  Girolamo  Genga,  but 
never  completed,  and  now  fallen  into  de- 
cay. It  is  built  on  the  slojie  of  a  moun- 
tain, and  its  plan  is  skilfully  adapted  to  its 
site.  Its  fa(,-ade,  about  100  ft.  long,  is  im- 
posing, consisting  of  a  long  centre  and  two 
projecting  wings  ;  the  former  having  in 
the  basement  story  an  open  vaulted  arcade 
of  five  I'ound  arches,  and  in  the  principal 
story  an  order  of  coupled  Ionic  pilasters 
on  a  balustrade  course,  with  niches  and 


and  at  a  still  higher  level  in  the  rear  is  a 


Fig.  144. —  Perugia,  S.  Pietro. 

large  square  garden.     The   interior   con- 
tains many  halls,  loggias,  and  state  apart- 
ments, elaborately  decorated  and  painted, 
and  a  noteworthy  winding  staircase. 
PESC'ARA.     See  Camuria. 
PETRA,  Arabia. 

CoRiXTiiiAX  Tomb,  on  the  east  side  of 
the  site.  The  lower  story  has  eight  engaged 
smooth  Corinthian  columns  on  a  high 
pedestal.  Doors  open  in  the  four  northern 
intercolumuiations.  Above  the  entabla- 
ture is  a  sort  of  attic  carved  with  short 
jiilasters  sujjporting  a  second  entablature, 
and  in  the  middle  two  broken  pediments. 
The  upjjer  story  is  of  the  type  of  that  of 
the  Treasury  of  Pharaoh  (q.  v.).  having  on 
each  side  a  rectangular  projection  with 
two  engaged  smooth  Corinthian  columns 
and  broken  pediments,  and  in  the  middle  a 
circular  edicule  with  similar  columns  and 
a  conical  roof  ending  in  a  Corinthian 
capital.  The  entablature  of  the  upper 
story  is  Doric. 

The  Df:R  (Monastery),  a  rock-tomb  re- 
sembling the  Treasury  of  Pharaoh  [q.  v.). 
The  lower  story  contains  a  door  with  a  low 
triangular  pediment,  framed  between  en- 


291 


PETRA 


gagwl  coluiuiis.  outsido  of  wliich  on  carli 
side  are  two  enga,i;c'il  columns  and  an 
iingle-pilaster  with  uiitiiiislied  capitals  oi' 
Doric  outline.  In  each  lateral  iutercol- 
unmiatioii  is  a  rectangular  niche  with  a 
semicircular    pediment ;    the    eiitaldatui'e 


masses  of  ruins,  are  hewn  from  the  living 
rock,  a  soft  sandstone.  The  ett'ect  of  the 
architecture  is  greatly  enhanced  by  the 
wonderful  natural  coloration  of  the  stone, 
ranging  through  brilliant  red,  pink,  brown, 
yellow,  blue,  purple,  gray,  black,  white, 
is  Corinthian.   The  upper  story  consists  of     and  dull  green,  often  marvellously  streaked 


the  (HMitral  circular  cdicule.  with  conical 
roof  and  tci'niinal  capital  and  urn.  between 
two  reclangular  projections  with  broken 
pedinieuts.  as  in  the  Treasury  ;  in  addition 
there  is  on  each  side  a  projecting  pier. 
The  entablature  is  Doric,  the  columns  Co- 
rinthian, with  capitals  iinfiuislied.  The 
three  cdicules  of  the  upper  story  have  rec- 
tanifular  niches  for  statues.     The  walls  of 


and  shaded,  and  by  the  remarkable  wild- 
ness  and  desolation  of  the  surrounding 
region.  Some  of  the  tombs  have  servctl. 
since  J'etra  disajijjeared  from  history,  for 
other  than  their  original  pvivpose  ;  an  in- 
scription shows  that  one  was  dedicated  to 
the  cult  of  Mithras  ;  others  were  conse- 
crated as  Christian  chapels,  and  others 
came  to   be  inhabited  as  dwcllintrs.     The 


the  interior  chamber,  :57  ft.  by  -40  ft.,  are     funereal  urn  is  a  frequent  and  characteris- 


bare,  except  for  one  niche.  This  monument 
is  of  larger  proportions  than  the  Treasury, 
its  width  being  l.jO  ft.,  and  its  height 
about  100  ft.  The  upper  story  is  in  al- 
most perfect  preservation,  as  its  compara- 
tively isolated  situation  has  protected  it 
from  the  intentional  destruction  of  the 
Bedouins.  There  is  a  l)road  levelled  plat- 
form before  the  tomb. 

Necropolis,  distributed  in  the  rock- 
sides  of  the  gorges  and  steep  hills  which 
border  the  valley.  The  tombs  are  in  great 
numbers,  many  of  them  with  elaborately 
ornamented  fa(;ades,  some  left  unfinished, 
and  thus  cxiubiting  the  method  of  working 
from  the  to])  downward,  many  so  high  nj) 


tic  ornament  of  the  tombs.  On  the  east 
side  of  the  valley  is  a  tondj  with  a  Latin 
inscription  to  Quintus  Prajtextus  Floreii- 
tinus.  Another  bears  a  Greek  iuscrijjtion. 
[Some  of  the  chief  tombs  of  the  necropo- 
lis, commonly  called  by  other  names  are 
here  treated  separately.] 

i'iiAi:AOn's  Pal.vce,  so-called,  is  a 
large  scjuare  building.  The  walls,  aliout 
S  ft.  thick,  with  holes  for  wooden  floor- 
beams  indicating  several  stories,  survive 
almost  entire.  The  north  front  had  a 
portico  of  columns,  now  destroyed.  On 
the  east  side  is  a  large  door,  flanked  by 
jiilasters  with  enriched  capitals.  The 
cornice  is  rich,  and  the  frieze  bears  tri- 


iu  the  faces  of  the  cliffs  that  they  must     glyphs  and  rosettes  ;  all  this  ornament  is 
always  have  boon  approached  by  ladders. 
The  interior  chaml)crs  are  in  general  plain, 
but  some  of  them  are  ornamented.     One 


is  surrounded  with  engaged  Doric  colunnis 
with  an  entablature  ;  there  are  rectangu- 
lar niches  in  the  intercolumniations.  Some 
are  of  the  type  in  form  of  an  edicule  en- 
tirely detached  from  the  original  rock, 
like  those  in  the  Kedron  Valley  at  Jeru- 
salem. The  style  is  in  general  debased 
and  florid  Roman,  jirofoundly  modified  i)y 
Oriental  (Plucnician)  influences.  Witli 
but  few  exceptions  the  surviving  remains 
of    Petra,    apart    from    indistinguishable 


in  stucco.     The  style  is  late  Roman. 

Tjie.vtre,  the  idiief  surviving  monu- 
ment of  Peti'a.  The  cavea  is  entirely 
hewn  ivitui  the  I'ock,  and  has  thirty-three 
tiers  of  seats.  .Vljove  the  auditorium 
open  several  rock-hewn  chambers.  The 
brook  now  flows  through  the  remains  of 
the  stage-structure.  The  diameter  of  the 
orchestra  is  about  114  ft. 

To.Mii,  in  three  stories,  near  the  Corin- 
thian 'i'omb,  in  the  east  wall  of  the  val- 
ley. The  lowest  story  has  four  doors 
framed  in  Corinthian  pilasters,  which 
were    left    unfinished.       The    two    outer 


£93 


PHIGALEIA 


doors  have  round  pediments  above  an  en- 
tablature, tile  two  middle  doors  triangu- 
lar pediments.  In  the  second  story  are 
eighteen  iintinished  enc'aged  Ionic  col- 
limns,  and  cuttings  in  the  rock  in  the  inter- 
columniations  indicate  that  it  was  intend- 
ed to  form  an  open  loggia  here.  Above 
the  entablature  of  the  second  story  comes 
a  barbarous  attic  of  agglomerated  jiedes- 
tals  and  capitals  in  several  tiers  ;  and  the 
third  story  was  designed  to  have  eighteen 
columns,  like  the  second.  This  third 
story  is  now  almost  entirely  broken  away  ; 
it  was  doubtless  intended  to  be  in  part 
built  up  of  ma.sonry,  as  its  height  must 
have  exceeded,  if  complete,  that  of  the 
original  roek. 

The  Tkeaslry  of  Pharaoh  (Khaz- 
neh  Firaun),  so-oalled,  is  the  most  beau- 
tiful rock-tomb  of  Petra.  In  the  lower 
story  is  a  porch  of  six  nuliuted  Corinthian 
columns,  the  four  central  ones  jJrojecting 
slightly  and  surmounted  by  a  pediment. 
In  the  ujiper  story  there  is  on  eaeli  side  a 
broken  pediment  and  entablature  resting 
on  two  unfluted  Corinthian  columns,  and 
in  the  middle  a  circular  Corinthian  edi- 
cule  with  four  similar  columns,  and  a 
conical  roof  terminating  in  a  Corinthian 
capital  and  a  finial  urn,  all  engaged  at  the 
back  in  the  rock.  The  entablature  is  car- 
ried across  the  rock  at  the  back,  between 
the  central  edicnle  and  the  side  structures. 
The  two  upper  side  niches  between  the 
columns  are  carved  with  trophies  in  re- 
lief ;  the  other  spaces  between  columns  in 
the  upper  story  bear  human  ligures,  most  of 
them  of  women,  on  pedestals  ;  the  spaces 
between  the  side  columns  of  the  lower 
story  are  iilso  carved  with  figures,  now 
much  mutilated.  There  are  nine  acro- 
teria,  most  of  them  in  the  form  of  eagles, 
now  broken.  The  friezes  and  the  lower 
pediment  are  delicately  sculptured.  In 
the  lower  story  an  open  vestibule  and 
richly  framed  door  gives  access  to  a 
plain  chamber  about  36  ft.  square.  The 
total  height  of  the  monument  is  about  8.5 


ft.,  its  width  96  ft.  The  style  of  the 
sculpture  seems  to  indicate  about  the 
same  date  as  the  monument  of  Baalbek. 
The  beauty  of  the  effect  is  much  enhanced 
by  the  rich  red  color  of  the  stone. 

Pharaoh's  Triumphal  Ahch,  of  late 
Roman  style,  led  to  Pharaoh's  Palace,  with 
which  it  was  connected  by  a  jjaved  road, 
and  a  colonnade.  The  front  is  decorated 
with  sculpture  and  has  three  archways. 
PHIGALEIA,  Arcadia,  Greece. 

The  Temple  of  Apollo  Epicirius 
(the  Helper  or  Protector)  at  Bassa^,  out- 
side of  Phigaleia,  on  the  slope  of  Mt.  Ko- 
tvlion,  more  than  3,000  ft.  above  the  sea, 
between  two  summits  covered  with  an- 
cient oaks,  was  rebuilt  after  430  b.c,  under 
the  direction  of  Ictinus,  in  gratitude  to 
AjjoUo  because  he  had  spared  the  district 
from  the  pestilence  with  which  the  rest 
of  Greece  was  afflicted  at  the  beginning  of 
the  Peloponnesiau  War.  For  beauty  of 
material  and  workmanship  it  was  reputed 
to  surpass  all  the  temples  in  Peloponnesus, 
excepting  that  at  Tegea.  The  temple  is 
the  best  preserved  of  any  in  Greece,  with 
the  exception  of  the  Theseum.  It  faces 
toward  the  nortli  instead  of  toward  the 
east.  Three  columns  only  of  the  peristyle 
are  wanting,  and  the  bases  of  the  columns 
in  untis,  the  architraves  and  the  jitavement, 
are  still  in  place.  It  is  a  Doric  hexastyle, 
peripteros,  with  fifteen  columns  in  each 
flank  and  two  between  the  antas  in  the 
pronaos  and  opisthodomos  on  a  stylobate 
of  three  steps  ;  the  ground  plan  is  121  ft. 
by  13  ft.  The  cella,  too  narrow  for  in- 
dependent rows  of  columns,  had  on  each 
side  five  piers  projecting  from  the  wall  to 
support  the  timbers  of  the  roof  and  termi- 
nating on  their  external  faces  in  Ionic 
three-quarter  columns.  The  material  is 
a  bluish-white  limestone,  the  ornamental 
parts  being  in  white  marble,  the  roof  tiled 
with  marble  slabs.  The  entire  sculptured 
frieze  in  high  relief  which  surrounded  the 
interior  of  the  cella  is  now  in  the  British 
Museum.     It  is  101  ft.  long  and  2  ft.  1 


aas 


PHILADELPHIA 


iu.  high.  ;ui(l  luis  ]ihiinlybeen  shortened  at 
several  j)hices  to  make  it  fit  tlie  building. 
Upon  half  the  block.s  are  subjects  from 
a  contest  of  Centaurs  and  Lapiths,  while 
the  othere  are  carved  with  scenes  from 
the  war  of  the  Greeks  and  the  Ama- 
zons. The  designs  are  vigorous  and  the 
execution  good,  but  the  majestic  repose  of 
the  Parthenon  sculptures  has  given  place 
to  violent  and  unrestrained  action.  There 
Avere  six  sculptured  metopes  over  the  in- 
terior porticoes  of  both  pronaos  and  opis- 
thodomos.  Some  fragments  of  a  colossal 
acrolithic  statue  were  found  on  tlio  floor 
of  the  temple.  It  is  plausibly  contended 
that  the  only  real  cella  of  this  temple  is 
the  small  rear  chamber  with  the  door 
opening  toward  the  east,  and  that  the 
larger  chamber  of  the  temple  was  never 
roofed  over,  but  formed  an  open  court 
decorated  with  its  range  of  Ionic  pilasters 
and  its  unique  interior  frieze.  From  this 
point  of  view  the  temple  was.  in  a  sense,  a 
hypwthral  structure,  as  hypa'thral  was  un- 
derstood by  those  who  believed  that  many 
large  Greek  temples  were  in  part  roofless. 
PHILADELPHIA.  See  Amman. 
PHILIPPI.  Macedonia.  Turkey. 

Greek  'ruEATKE,  shown  by  its  relation 
to  the  Hellenic  ramparts  to  be  contempo- 
raneous with  the  foundation  of  the  city. 
The  plan  is  greater  than  a  semicircle. 
The  cavea  is  in  part  rock-hewn  ;  the 
upper  part  appears  from  its  masonry  to  be 
a  Koman  addition  or  restoration.  The 
radius  of  the  cavea  is  109|  ft.,  the  dis- 
tancio  from  the  stage  to  the  limit  of  the 
cavea,  152  ft.  The  back  wall  of  the 
stage  with  its  three  doors  is  shown  by  its 
cemented  masonry  to  be  a  Roman  recon- 
struction. On  the  side  toward  the  town 
the  cavea  is  bounded  by  a  massive  wall  in 
large  rectangu^lar  blocks  over  7  ft.  thick, 
the  finest  piece  of  Hellenic  masonry  on 
the  site  of  Philippi. 
PHILIPPOPOLIS.  See  S/w/iOa. 
PIACENZA  (Plaisance),  Italy. 

The  C.-VTnEDK.\L     (Sta.  Giustina)  is  a 


Lombard  cruciform  church  of  character- 
istic design,  Init  with  .some  unusual  feat- 
ures. The  fa(;ade  is  of  marble  and  is 
divided  vertically  into  three  compartments 
by  two  slender  round  shafts  rising  from 
the  ground  nearly  to  the  cornice.  In 
each  compartment  is  a  jirojecting  jiorcii 
of  two  stories,  that  in  the  centre  larger, 
but  all  substantially  alike,  consisting  of 
two  round  arches  carried  on  single  col- 
umns resting  on  grotesque  animals,  the 
upi^er  arch  covered  by  a  low  gable.  These 
arches  are  remarkable  as  standing  and  ap- 
parently firm  without  the  usual  tie-rod, 
though  their  supjiort  is  even  more  fragile 
than  most.  An  ojien  gallery  of  graceful 
arches  on  columns  runs  above  the  side 
porches  ;  above  the  central  j^orch  is  a 
large  and  fine  rose -window  filled  with 
tracery  of  an  evidently  later  date  than  the 
front.  A  single  low  gal)le  covers  the  front, 
and  has  an  open -arched  gallery  beneath 
following  the  cornice.  A  square  campa- 
nile rises  out  of  the  roof  over  the  north 
compartment  of  the  front,  with  a  belfry 
with  four  arched  oiienings  on  each  face, 
and  a  round  spire  built  of  brick  which 
reaches  the  height  of  300  ft.  The  sides  of 
the  church  are  sim])le,  with  single  round- 
headed  wiiulows,  square  buttresses  of 
slight  i)rojection,  and  open  eaves-galleries. 
The  transejit  arms  terminate  each  in  three 
apses,  the  choir  in  one,  and  an  octagonal 
lantern  of  brick  with  a  low  roof  covers  the 
intersection  of  nave  and  transept.  The 
interior  is  iu  some  respects  peculiar.  The 
nave  arches,  eight  in  number  on  each 
side,  are  continued  aeross  the  transept, 
and  the  three  arches  oiDcniug  into  it  are 
much  higher  than  the  rest.  Nave  and 
aisles  are  vaulted,  the  former  in  bays 
which  include  two  arches,  the  vaults  be- 
ing six-part  and  those  of  aisles  and  tran- 
sept four-])art.  Beneath  the  choir  is  a  re- 
nuirkably  fine  crypt  of  cruciform  plan,  and 
a  vaulted  roof  carried  on  a  great  number 
of  small  columns.  The  church,  founded 
in  the  ix  cent.,  after  being  twice  destroy- 


PIACENZA 


ed  and  renewed,  was  rebuilt  in  its  present 
form  in  1233. 

The  Palazzo  del  Commuxe,  or  Town- 
hall,  sometimes  called  the  Broletto,  is  one 
of  the  finest  examjiles  of  an  interesting 
class  of  civic  buildings  of  North  Italy,  of 
which  consiiicuous  examiiles  are  to  be 
found  at  Como,  Brescia,  Orvieto,  and 
other  towns.  It  is  a  rectangular  building 
with  two  high  stories,  the  lower  of  white 
marble,  varied  by  occasional  coiirses  of 
red  and  gray,  the  outer  walls  carried  on 
open  jiointed  arches  sj)ringing  from  sim- 
ple square  piers,  the  ceiling  vaulted  in 
brick  with  stone  ribs.  The  upper  story  is 
of  brick,  separated  from  the  lower  by  a 
thin  string-course,  and  pierced  by  narrow 
arched  openings  in  groups  of  three  and 
four,  some  with  round  heads  and  some 
with  pointed,  divided  by  coupled  marble 
shafts  of  great  elegance,  and  enclosed  by 
large  round  bearing-arches  with  flat  broad 
decorated  mouldings,  the  tympana  en- 
riched witli  a  diaper  of  brick.  A  fine  ar- 
caded  marble  cornice  finishes  this  story, 
above  which  rise  very  bold  forked  battle- 
ments in  brick.  On  the  ends  of  the  build- 
ing the  cornice  and  battlements  are  carried 
up  into  a  low  gable  with  a  wheel  window. 
The  angles  are  marked  by  strong  square 
battlemented  turrets.  The  lower  story  is 
an  open  loggia,  intended  to  serve  for  an 
exchange,  as  was  the  case  with  the  Irdli'tti 
of  many  Italian  towns.  The  date  of  the 
commencement  of  the  work,  1281,  is  in- 
scribed on  one  of  the  stones  of  the  front. 

S.  AxTOXixo.  A  cruciform  Lombard 
church  of  brick,  formerly  the  Cathedral, 
with  a  singular  plan,  the  ordinary  arrange- 
ment being  reversed  and  the  trausejit  near 
the  west  end,  with  the  nave,  but  not  the 
aisles,  projecting  westward  from  them  in  a 
single  square  bay.  At  the  east  end,  nave 
and  aisles  terminate  in  round  apses.  The 
whole  church  is  vaulted,  and  at  the  inter- 
section of  nave  and  transept  eight  col- 
umns and  four  corner  piers  carry  a  lantern 
which  becomes  an  octagou  above  the  vault 


of  the  nave,  and  which  might  ratlun-  be 
called  a  tower,  since  it  rises  to  twice  the 
heiglit  of  the  church  roof,  with  four  sto- 
ries of  arched  windows — those  of  the  three 
upper  stories  coupled — and  a  low  octago- 
nal roof.  The  aisles  have  flat  external  but- 
tresses, with  narrow  lancet  windows  be- 
tween, with  cusped  heads.  The  church 
was  dedicated  in  1011:.  A  large  brick 
porch  or  facade,  called  II  Paradiso,  was 
added  to  tlic  north  transept  in  the  middle 
of  the  XIV  century. 

S.  Sepolcro,  a  Renaissance  church, 
built  by  Bramante  in  1.531.  Its  plan  is 
interesting  and  picturesque  :  a  nave  about 
30  ft.  wide  divided  into  four  bay.s,  of 
which  the  first  and  third  are  square  and 
covered  by  groined  vaults,  the  second  and 
fourth  narrow  and  covered  by  barrel- 
vaults.  The  aisles,  half  the  wid"th  of  the 
nave,  are  divided  into  bays  corres^Jonding 
with  those  of  the  nave,  the  larger  bays  be- 
ing covered  by  bai'rel-vaults  and  the  small- 
er by  little  domes.  A  range  of  chapels 
with  apsidal  ends  flanks  each  aisle.  Each 
transept  arm  has  two  bays  with  barrel- 
vaults,  an  apsidal  end,  and  a  small  apse  in 
the  eastern  wall  ojjposite  the  aisle.  The 
square  at  the  crossing  is  covered  by  a 
groined  vault  like  those  of  the  nave.  The 
choir  has  two  rectangular  bays  with  barrel 
vaults  and  an  apse.  This  church  was  ap- 
propriated by  the  Austrians  as  a  military 
hospital  during  their  occuj)ation  of  north- 
ern Italy,  and  has  been  closed  since  their 
departure. 

8.  SL'iTo,  a  fine  basiliean  church  of  vari- 
ous dates  and  styles,  but  now  mainly  Re- 
naissance. Its  iflan  is  remarkable.  The 
church  is  preceded  by  a  fine  atrium  or 
fore-court  enclosed  by  arcades  with  Ionic 
columns,  and  square  bays  with  groined 
vaults.  From  this  atrium  the  church  is 
entered  through  a  western  transept  with  a 
round  dome  covering  the  central  compart- 
ment. The  nave,  about  30  ft.  wide,  is 
covered  by  a  barrel-vault.  Its  length  is 
about  70  ft.  between  the  western  and  east- 


296 


PIEXZA 

crn  transepts.  It  lias  doiililo  jiisles  oti  jiancl.  I'lulcr  the  singU' j,'alil('il  ronf  are  a 
each  side  divided  by  Ionic  colnnnis  of  nave,  aisles,  and  transept  of  equal  height, 
gray  granite  into  square  bays,  each  covered  divided  by  clustered  Doric  columns  carry- 
by  a  small  flat  dome.  Tlie  outer  aisles  ing  blocks  of  entablature,  on  which  rest 
are  Hanked  by  an  equal  number  of  small  the  round  arches  and  pointed  vaults.  The 
chapels,  each  consi.sting  of  a  flat  apse  east  end  is  half  an  octagon,  inclosing  the 
lighted  by  two  windows.  The  eastern  two  rectangular  bays  of  the  choir  flanked 
transept  ends  in  apses  to  the  north  and  by  oblique  clniiiels. 

south,  and  over  the  crossing  is  a  higii  Palazzo  I'iccolomixi,  a  Renaissance 
round  dome  with  a  colonnaded  drum,  palace  of  great  size  built  for  Pius  II.,  in 
The  inner  aisles  are  continued  on  either  l-i62,  by  Bernardo  Kossellino.  The  build- 
side  the  choir  by  a  square  bay  with  an  ings  surround  three  sides  of  a  great  court- 
eastern  apse.  The  choir  is  of  great  length,  yard  with  vaulted  arcades,  the  fourth  side 
as  long  indeed  as  the  nave,  and  is  in  three  being  closed  l)y  a  wall,  on  the  outer  face 
square  bays  with  barrel-vaults  divided  by  of  which  toward  the  gardens  are  three 
tran.sverse  arches,  and  with  a  square  east  stories  of  arcades  answering  to  the  stories 
end.  The  original  church,  which  appears  of  the  palace.  The  principal  facades, 
to  have  been  built  about  874,  was  burned  strongly  resembling  that  of  the  Palazzo 
in  1260  and  rebuilt  in  a  style  of  pure  Kucellai  in  Florence,  have  an  order  of  Hat 
(iothic,  says  Mothes.  A  new  choir  was  engaged  pilasters  in  each  story,  the  lowest 
built  in  1520,  and  a  new  front  in  1.590.  It  story  with  a  simple  square  doorway  break- 
was  as  an  altar-jiiece  for  this  church  that  ing  a  range  of  small  square  windows  on 
Raphael  painted  the  so-called  Sistine  ^la-  each  face ;  the  upper  stories  with  a  large 
donna,  now  at  Dresden.  two-light  window  in  every  interval,  under 
PH-:XZA,  Italy.  a  bearing  arch  of  strongly  marked  vous- 
The  Cathedral,  built  for  Pius  II.  bo-  soirs.  The  entablatures  are  small  and 
tweon  1459  and  1403,  by  one  Bernardo  thin,  except  that  of  the  upper  order, 
of  Florence,  probably  Bernardo  Eossel-  which  makes  a  vigorous  cornice.  The 
lino,  is  one  of  the  earliest  works  of  the  interior  court  is  very  attractive,  with  a 
h'enais.sance,  and  retains  much  of  the  feel-  round-arched  arcade  on  the  first  story,  a 
ing  of  the  earlier  styles.  It  is  a  small  second  story  with  broad  square  windows, 
church,  about  130  ft.  long  and  95  ft.  across  and  an  open  loggia  above — all  the  wall 
the  transept.  The  simply  outlined  front  surfaces  being  elaborately  painted  in  geo- 
shows  a  curious  conflict  between  horizon-  metrical  patterns. 

tal   lines  and  the  vertical,  being  divided  Palazzo  del  Pketokio.  the  old  Town- 

horizontally  by  an  order  of  small  Covin-  hall  of  Picnz;i,  built  almiit  1475,  by  order 

thian  columns  on  pedestals  in  the  lower  of    Pius    II.,   of  the   I'iccolomini  family, 

story   and   by   the    hoi'izoutal   cornice   of  and  doubtless  by  Rossellino.     It   has  an 

the  great  pediment  that  covers  the  whole  interesting    and    graceful   facade,    about 

front,   and    vertically   by   broad   pilasters  GO   ft.    long,   in  two  stories,  the  first  an 

that  run   up  through   the  jiediment   and  open    loggia    with    three    round    arches 

l)i'eak  into  its  raking  cornice.     The  pilas-  springing  from  stout  Ionic;  columns,  the 

ters  arc  flanked  Ijy  the  detached  Corinth-  second   with  round-arched  two-light  win- 

ian   columns,  which    in    the  second  story  dows,  the  arches  springing  from  pilasters 

carry   blind   round    arclu's.       Below    are  and  divided   by  a  slender   column.     Be- 

three   square-headed    doors,  aiul  above,  a  tween  the   two  stories   is  a  broad  frieze, 

round    window    between     two    niches — in  aiul  at  the  angle  of  the  front  rises  a  fine 

the  pediment  the  pajial   arms  in  a  round  clock  tower,  of  which  the  belfry  stage  has 

396 


PIETAS 


in  c;K'h  face  a  single  long  rouiul  -  ureluMJ 
opening.  It  is  crowned  b}'  a  bold  ar- 
caded  corbel-table,  above  which  is  a 
smaller  ujiper  stage  with  a  similar  ter- 
mination. The  whole  front,  excej)t  the 
uj)jier  half  of  the  tower,  is  covered  with 
stucco  and  painted  with  elaborate  decora- 
tions. 

PIETAS  JULIA.     See  Pola. 
PINARA  (Miuara),  Lycia,  Asia  Minor. 

Theatre,  excavated  in  the  side  of  a 
woody  hill  fronting  the  city.  The  interest- 
ing cavea  is  all  but  perfect,  even  to  the 
sloping  tops  of  the  end  walls  of  the  wings. 
Several  of  the  doorways  of  the  back  wall 
of  the  stage  are  standing.  The  exterior 
diameter  is  173  ft.  There  are  impressive 
remains  of  the  city  walls,  iu  polygonal 
masonry  of  very  large  stones,  with  gates 
formed  of  three  huge  monoliths.  Foun- 
dations of  several  buildings  are  iu  the 
same  masonry.  There  is  a  very  extensive 
and  interesting  necropolis  ;  some  of  the 
rock-tombs,  whose  facades  imitate  wooden 
architecture,  are  richly  sculptured. 
PISA,  Italy. 

The  Baptistery  is  a  circle  of  99  ft. 
interior  diameter,  with  an  inner  ring  of 
twelve  arches  about  60  ft.  in  diameter, 
supported  in  the  first  story  on  eight  col- 
umns with  Corinthian  capitals  and  four 
polygonal  piers,  and  surrounded  by  a  cir- 
cular aisle  about  10  ft.  wide,  in  two  stories, 
the  lower  covered  by  four-p)art  vaulting, 
the  upper  by  a  barrel-vault.  Over  the 
upjier  arches  rises  a  high  twelve-sided 
pyramidal  roof  originally  open  to  the  sky, 
but  now  ending  in  a  small  hemispherical 
dome.  In  the  centre  of  the  floor  stands 
a  marble  font,  octagonal,  12  ft.  in  dia- 
meter, its  sides  panelled  and  sculptured 
with  great  delicacy,  raised  on  three  broad 
steps,  of  which  the  faces  ai-e  decorated  with 
a  marble  inlay.  The  hexagonal  marble 
pulpit,  justly  esteemed  as  one  of  the  most 
admirable  works  of  early  Italian  art,  is 
the  work  of  Niccolo  Pisano,  and  dates 
from   12G0.     It  is  supported  on  a  group 


of  roiuiuns.  the  shafts  of  various  kinds  of 
polished  granite  and  marble,  three  of 
them  resting  on  the  backs  of  lions,  bear- 
ing six  round  cusped  arches  with  sculpt- 
ured figures  between  and  in  the  span- 
drels ;  and  the  faces  of  the  hexagon  above 
are  filled  with  figure  subjects  in  high  re- 
lief of  the  greatest  beauty.  The  exterior 
is  of  various  ages  and  styles.  It  is  in  three 
stages,  of  which  the  first  is  a  blind  arcade, 
exactly  answering  to  that  of  the  cathe- 
dral, four  of  the  arches  filled  with  door- 
ways with  sculptured  lintels  and  tympana, 
the  others  containing  each  a  small  round- 
headed  window.  The  second  and  later 
stage  is  an  arcaded  gallery  like  those  of 
the  front  of  the  cathedral,  but  the  arches 
divided  into  pairs,  each  covered  by  a  high 
crocketed  gable  enclosing  a  niche  con- 
taining a  statue  or  grouji.  Between  the 
gables,  which  are  crowned  by  statues,  tall 
pinnacles  rise.  Thus  far  the  outline  of 
the  building  is  circular.  The  third  stage 
is  a  polygon  of  twenty  sides,  the  angles 
marked  by  pilasters  rising  into  pinnacles, 
and  each  side  occupied  by  a  round-arched 
window  with  two  pointed  and  cusped 
lights,  covered  by  a  high  gable  with 
crockets  and  finial.  Above  this  is  a  do- 
decagonal  dome  of  brick,  which  abuts 
against  the  inner  pyramidal  roof  at  three- 
quarters  of  its  height,  the  remainder  of 
the  roof  projecting  and  having  the  effect 
of  a  rude  closed  lantern.  The  angles  are 
marked  by  ribs  of  mai-ble  ornamented  by 
crockets.  The  bajitistery  was  founded 
in  11.53.  Its  architect  was  Dioti  Salvi. 
The  date  and  the  name  are  both  inscribed 
on  the  interior  piers.  The  work  being 
interrupted  some  years  later  by  lack  of 
funds,  a  general  contribution  was  a.sked 
for  from  the  citizens  in  11(54,  when  it  is 
recorded  that  thirty-four  thousand  fami- 
lies gave  each  the  sum  of  one  soldo.  A 
second  inscription,  dated  1278,  records  the 
rebuilding  "  de  novo,"  and  doubtless  con- 
cerns the  changes  in  the  upper  parts. 
The  Cajipaxile  of  the  cathedral,  com- 


PISA 


moiilv  known  as  tlie  Lcaiiini;  Tower,  is 
one  (if  tlie  riclicst  and  most  striking  of 
Italian  bell-towers,  a  round  tower  53  ft. 
in  diameter  and  ISO  ft.  hi<,di.     Its  desi£;n 


Fig.  145  — Pisa,  Cathedral  and  Tower 


is  in  exact  harmony  willi  thai  of  the 
eatliedral.  consisting  of  a  series  of  super- 
ini])osod  arcades,  of  which  the  first,,  about 
;5.i  ft.  high,  is  composed  of  fifteen  blind     alread}'  distinguished   by  earlier  work  in 


covered  by  a  high  bearing-arch  with  re- 
liefs. This  ai'cade  is  surmounted  by  six 
oiJcn  arcaded  galleries  exactly  similar  in 
design,  each  consisting  of  thirty  narrow 
round  arches  carried  on 
tall  columns,  with  capi- 
tals of  various  kinds, 
whose  abaci  are  stayed 
to  the  walls  behind  by 
flat  lintels.  The  inner 
wall  of  the  gallery  ap- 
pears uncovered  in  the 
eighth  and  final  stage  as 
a  belfry,  its  diameter  re- 
duced to  38  ft.,  with  six 
broad  open  arches, 
flanked  by  columns  sup- 
porting an  arched  corbel- 
table  under  the  cornice. 
A  second  inner  wall  is 
carried  as  high  as  the 
uppermost  gallery,  and 
between  the  outer  and 
inner  walls  a  stair  of  easy 
ascent  gives  access  to  all 
the  stories  of  the  tower, 
Xo  floors  remain  below 
iliat  of  the  belfry  stage. 
The  external  walls  and 
j.illcrics  throughout  are 
I  milt  of  white  marble, 
the  upper  and  lower 
stories  being  strij)ed  with 
lilack.  Tlie  tow^er  was 
begun  in  11 74,  nearly 
sixty  years  a  f  t  c  r  the 
comjiletion  of  the  ca- 
tlu'ilral.  and  about  twenty  years  after  the 
great  tower  of  St.  Mark's  at  Venice. 
Its  architect  was  Bonanno,  a  Pisan,  and 


arclies  springing  from  engaged  shafts  with 
Corinthian  capitals,  the  arch  heads  filled, 
as  in  the  cathedral  and  baptistery,  with 
lozenge-shaped  inlays  of  colored  marbles. 
In  one  of  the  intervals  is  a  square  door- 
way with  a  high  entablature,  witii  its 
frieze  decorated  with  a  marble  inlav.  and 


this  town.  It  has  been  argued  that  the 
tower  was  intended  to  lean,  a  gratuitous 
affront  to  the  builders  wliich  is  set  aside 
by  examinati(ni  either  of  the  structure  or 
its  history.  (Jreat  care  appears  to  have 
been  taken  with  the  foundations,  which 
rest  on  a  multitude  of  piles,  but  the  evi- 


298 


PISA 


deuces  of  progressive  and  dangerous  set- 
tleineiit  appear  at  as  early  a  stage  as  tlie 
first  gallery,  above  which  point  there  was 
a  constant  effort  to  correct  the  ever  in- 
creasing inclination.  After  the  comjjle- 
tion  of  the  third  gallery  the  work  appears 
to  have  been  suspended  for  nearly  sixty 
years.  It  was  recommenced  in  1234  un- 
der William  of  Innsbruck.  The  floor  of 
the  fourth  gallery  was  then  11  in.  out 
of  level,  in  spite  of  corrections  which  had 
been  already  made  below.  These  cor- 
rections were  continued  by  making  the 
columns  on  the  south  side  of  the  fourth 
gallery  about  5  in.  longer  than  those  on 
the  north  side,  and  the  same  method 
was  adopted  in  the  fifth  and  sixth  galler- 
ies. At  this  point  there  was  a  second  sus- 
pension of  the  work,  and  the  belfry  was 
added  in  1350  by  Thomas  of  Pisa.  The 
present  inclination  is  about  13  ft.  from 
the  vertical.     {See  Fig.  H5.) 

The  Campo  Saxto  is  properly  to  be  re- 
garded as  the  cloister  of  the  cathedral. 
The  Pisans,  returning  from  the  Holy  Land 
after  the  second  crusade  under  their  bish- 
op Lanfranchi,  about  1188,  brought  with 
them  a  great  quantity  of  earth  from  the 
Mount  of  Calvary,  amounting  as  has  been 
asserted  to  five  hundred  ship-loads — per- 
haps to  a  tenth  of  that.  This  was  deposit- 
ed in  the  neighborhood  of  the  cathedral, 
where  a  cemetery  was  established.  When 
the  enclosure  was  begun  is  not  clear,  but 
an  inscription  records  that  in  12 78  the  work 
was  carried  on  under  Giovanni  Pisano. 
It  is  a  long  quadrangle,  measuring  about 
415  ft.  in  length  and  138  in  breadth. 
The  enclosing  wall,  apparently  older  than 
the  rest  and  nearly  30  ft.  high,  is  faced  on 
the  side  next  the  square  with  a  blind  ar- 
cade of  tall  roiind  arches  with  simply 
decorated  archivolts,  springing  from  thin 
pilasters.  It  has  three  square  doorways  ; 
over  the  central  one  is  set  a  later  (Jothic 
shrine  of  delicate  design,  under  which  is 
a  group  of  sculpture  by  Giovanni  Pi- 
sano representing  the  Virgin   and   Child 


throned,  with  adoring  figures.  The  quad- 
rangle is  lined  with  a  continuous  corridor 
about  35  ft.  wide,  presenting  toward  the 
court  a  series  of  sixty-two  round  arches  of 
12  ft.  sjjan,  sj^ringing  from  rather  slender 
square  piers,  the  openings  filled  with 
delicate  niullion  shafts  and  tracery  of  a 
distinctly  Gothic  character,  probably  of 
the  XV  cent.,  said  to  have  been  once 
glazed  with  stained  glass,  but  now  quite 
ojjen.  The  arcade  rests  on  a  j)edestal 
course,  and  is  crowned  by  a  light  deco- 
rated cornice.  The  material  is  white 
marble,  the  piers  and  arches  striped  with 
black  and  the  whole  comjiosition  is  of  ex- 
treme elegance.  The  decoration  of  the 
corridors  is  very  interesting,  the  walls 
being  covered  with  the  original  frescoes  of 
Giotto,  Andrea  Orcagna,  Bcnozzo  Gozzoli, 
and  other  early  painters  of  less  distinction, 
many  of  them  in  fair  preservation.  The 
corridors  are  paved  for  the  most  jDart  with 
the  slabs  of  ancient  tombs,  and  contain  a 
great  number  of  sarcophagi,  statues,  and 
fragments  of  sculpture  from  the  Roman 
times  down  to  the  xiv  century. 

The  Cathedral,  dedicated  to  Sta.  Ee- 
parata,  is  one  of  the  most  important  and 
interesting  of  Italian  churches,  whether 
from  its  dimensions,  design,  or  decoration, 
and  is  typical  of  a  limited  but  well-defined 
school  of  the  Romanesque.  Its  plan  is  a 
Latin  cross  measuring  about  330  ft.  in 
length,  by  115  ft.  in  breadth  over  the 
aisles.  The  transept  is  230  ft.  long  and 
about  G5  ft.  broad  over  its  aisles.  The 
nave,  about  45  ft.  wide  between  the  cen- 
tres of  its  columns,  has  two  aisles  on  each 
side,  each  in  two  stories  and  about  16  ft. 
wide,  the  inner  aisles  running  singularly 
across  the  transept  to  the  east  wall  of  the 
church  ;  the  outer  aisles  turning  and 
flanking  the  transept  and  choir.  The 
nave  arcades  are  of  single  shafts  of  pol- 
ished granite  and  marbles  with  Corinthian 
capitals  carrying  rather  narrow  round 
arches.  The  second  -  story  arcades  have 
square    piers    over    the   columns    below. 


299 


PISA 


joined  by  roiiiul  bearing-arches,  eacli  en- 
closing a  pair  of  smaller  round  arches 
divided  by  a  small  eolnmn.  Ahove  is  the 
clerestory  wall  of  white  marble  witli  nar- 
row  courses  of    black,    pierced   by  single 


f\g.  146, — Pisa.  Cathedral   across  Transept. 

narrow  arched  wiiubius  which  have  no 
relation  to  the  lower  arches.  The  nave  is 
covered  hy  a  Hat  wooden  ceiling  in  deep 
panels,  carved  and  gilded,  the  aisles  by 
groined  vaults,  the  inner  and  outer  rows 
divided  by  arcades   closer   than  those  of 


two  bays  beyond  the  cro.ssing,  without  in- 
terruption, ends  in  a  round  apse  with  a 
hemispherical  vault  covered  with  gold 
mosaics  said  to  be  from  the  hand  of  Cima- 
bue  and  to  date  from  VW'i.  Each  wing  of 
the  transept  also  has  an  apse  at 
the  end.  The  crossing  of  nave 
~"  ,  and  transept,  forming  an  oblong 
of  40  ft.  by  55  ft.,  is  covered  by 
'  a  pointed  dome  elliptical  in  plan, 

,j  and  raised  on  a  low  drum  dimly 
lighted  by  small  square  windows. 
The  bearing  -  arches  across  the 
nave  are  pointed,  to  suit  their 
narrow  sf>an.  The  wimlows  of 
the  church  are  generally  tilled 
with  stained  glass,  much  of  it  of 
ancient  date.  The  interior  was 
nearly  destroyed  by  fire  in  ISUG, 
and  the  whole  church  has  been 
subjected  to  a  very  thorough  res- 
toration. The  exterior,  banded  in 
while  and  black  nuirble,  is  re- 
nuirkable  for  the  consistency  of 
its  design  throughout,  and  for  the 
delicacy  and  profuseness  of  its  or- 
namental features.  The  front  is 
in  five  stages  following  the  out- 
line of  the  nave  and  aisles.  The 
first  story  is  a  high  blind  arcade 
of  seven  round  arches  springing 
from  engaged  columns,  of  which 
the  two  enclosing  the  central  arch 
a  re  covered  with  bas-reliefs. 
The  arch  heads  are  filled  with  uuirble 
inlays,  alternately  round  and  lozenge- 
shaped.  Tlu'ee  of  the  arches  enclose 
]ilain  square  doorways  closed  by  bronze 
doors  of  the  XVII  cent.,  with  fine  bas-re- 
liefs.    All    the    other   stories   consist    of 


the  nave.     The  upper  aisles  are  divided     open   arcaded    galleries   of    small    round 


by  square  piers  over  each  alteriuite  col- 
umn of  the  lower  arcade,  with  groups  of 
four  arches  between  on  slender  columns. 
'I'hcse  upper  aisles  or  galleries  are  of  un- 
usual height,  aiul  the  outer  one  is  lighted 
by  windows  in  the  aisle  wall.  The  choir, 
which  continues  the  mive  aiul  inner  aisles 


arches  spruiging  from  shafts  of  various 
marbles,  whose  capitals  arc  stayed  by  lin- 
tels to  the  wall  behind,  which  is  pierced 
with  nari'ow  round-arched  windows  some- 
times single,  but  mostly  grouped.  Uiuler 
the  slojies  of  the  galiles  the  columns,  di- 
minishing, are  dwarfed  at  the  angles   to 


8U0 


PISA 


mere  capitals.  'I'lie  upper  two  stories 
have  only  the  hreailth  of  the  luive.  The 
eoruers  of  the  front  and  the  upex  of  the 
low  gable  are  crowned  with  statnes.  The 
spandrels  of  the  arches  and  the  small  i)or- 
tion  of  wall  above  them  are  decorated 
with  a  delicate  and  beautiful  iuhiy  of  col- 
ored marbles,  and  the  string-courses  di- 
viding the  stories  as  well  as  the  cornice 
moulding  are  richly  sculjitured.  The  re- 
mainder of  the  exterior  corresponds  in  de- 
sign with  the  front.  The  blind  arcade  of 
the  first  story  is  continued  quite  round 
the  church,  but  with  pilasters  for  col- 
umns, and  is  repeated  in  the  clerestory,' 
the  second  story  of  the  aisle-wall  being 
simjdy  divided  by  pilasters  into  jianels 
with  square-headed  windows.  The  other 
windows  are  small  and  round  headed. 
The  eastern  apse  is  in  tliree  stages,  of 
which  the  two  upper  consist  of  open  gal- 
leries, the  first  arched,  the  second  square- 


Tlie  church  was  founded  in  l()(j:i  in  jdace 
of  an  older  one,  as  a  memorial  of  the  grati- 
tude of  the  I'isans  for  success  in  war  against 
the  Saracens  in  Italy.  The  original  archi- 
tect, it  would  appear  from  an  inscription 
on  his  monument  built  into  the  facade, 
was  one  Bnsketus  or  Buschetto,  appar- 
ently a  Greek  from  Dulychium,  though 
some  antiquaries  have  claimed  him  for 
Italian.  The  church,  however,  was  not 
finished  till  after  his  death  and  was  dedi- 
cated in  1118.  The  nave  was  evidently 
leuijthened  after  the  original  buildinsr. 
The  fa(;ade  underwent  alteration,  or  had 
been  left  unfinished  ;  Niccolo  Pisano  is 
said  to  have  worked  ujjon  it  in  the  xiii 
century.  The  Pisans  appear  to  have 
made  ])ious  use  of  the  spoils  of  their  ene- 
mies— the  marbles,  the  shafts,  and  even 
the  capitals,  have  been  plundered  from 
many  sources.  (See  Fiys.  lJf5,  lJf6,  H7.) 
Leaxixg  Towek.     See  Campunih. 


Fig.   147. — Pisa,  Cathedral,   Baptistry,  Campanile  and  Campo  Santo. 
Scale  of  100  feet. 


headed.  The  high  elliptical  dome  is 
surrounded  at  its  base  by  a  rather  thin 
arcade  of  pointed,  cusped,  and  gabled 
arches  with  high  pinnacles  between.  This 
was  added  after  the  disastrous  fire  of  1500. 


Palazzo  Gambacorti,  a  characteristic 
example  of  the  Italian  domestic  archi- 
tecture of  the  xiY  cent.,  covering  an  area 
about  SO  ft.  wide  and  115  ft.  deep,  with  a 
small  court  in  the  centre.     Its  jirincipal 


801 


PISA 


interior  feature  is  its  fine  entr;mcc-hall, 
an  irregular  quadrangle  about  40  ft.  by 
80  ft.,  divided  into  two  lines  of  vaulted 
bays  by  massive  shafts  with  well-devel- 
oped capitals.      Its  fa(;ade.  about  80  ft. 
wide  and  70  ft.   high,  is  of  simple  de- 
sign, in  three  high  stories,  a  lower  story 
of  a  door  between  four  windows,  with 
curiously  abutted  segment-arches  ;  and 
two  stories  of   round-arched  windows, 
with  pairs  of  pointed  and  cusped  sub- 
arches  on  slender  colonnettes. 

Sta.  Agata.  a  little  octagonal  brick 
chapel,  Lombard  in  apjiearance,  and 
perhaps  of  the  xi  century.  It  has  one 
broad  doorway  with  an  altar  opposite. 
and  in  six  faces  triple  arched  windows 
under  round  bearing-arches.  Pilasters 
on  the  angles  run  up  into  an  arched 
corbel-table  below  the  liigli  pyramidal 
roof. 

S.  Casciano,  a  small  early  lionian- 
esque  church,  of  the  ix  and  xii  cents., 
at  some  little  distance  from  the  town, 
measuring  about  (iO  ft.  in  width  and  130 
ft.  in  length,  with  nave  and  aisles  of 
eight   bays,  and  a  central   apse.     The 
church  is  incomplete,  being  finished  only 
to  the  height  of  the  nave  arcades.     The  ex- 
terior follows  as  far  as  it  goes  the  design  of 
the  cathedral,  with  a  fa(;ade  of  five  high 
blind  arches  on  flat  pilasters,  with  inlays 
round    and   lozenge-shaped   in   the   arch- 
heads,  and  containing  three  doors.     Above 
this  story  the  central  division  of  the  front 
is  just  started,  with  angle  pilasters  and  a 
two  -  light   window  in   the  middle.     The 
flanks  and  apse    are  treated   with    blind 
arches  divided  by  pilasters,  and  with  nar- 
row round-headed  windows  in  every  alter- 


iiiancsqne  modified  by  Hotliio  influence. 
It  is  about  240  ft.  long  and  .53  ft.  broad, 
consisting  of  a  wide  nave,   the  eastern 


Fig.   148— Pisa,  Sta.    Caterina. 

part  bordered  by  one  aisle  of  three  oblong 
vaulted  bays.  It  has  a  square  chancel 
flanked  by  two  square  chapels  on  each 
side.  The  front,  of  white  marble  re- 
lieved by  occasional  narrow  bands  of 
black,  and  covered  by  a  rather  high 
gable,  is  in  three  stages,  the  first  high, 
with  three  blind  arches  on  engaged  col- 
umns, the  middle  arch  containing  a  plain 
square  doorway,  and  reliefs  in  the  tym- 
panum.     The   second    stage   is   a   grace- 


ful arcaded  gallery  of  nine  pointed  luid 
nate  bay.  Apparently  the  tliree  eastern  cusped  arches  on  slender  columns,  with 
bays  and  apse  remain  from  the  church  of  trefoils  in  the  spandrels,  with  three 
the    IX   cent.,    the   church    having   been     pointed  windows  behind  it.     The   upper 


lengthened,  and.  as  Mothes  argues,  the 
handsome  old  doorways  inserted  in  the 
new  front. 

Sta.  Cateuixa.  a  transitional  church. 
showing  the  character  of    the   Pisan  Po- 


stage has  a  broad  arch  occupying  the 
centre,  over  a  round  window  set  in  a 
square  of  small  panels  containing  heads, 
and  pointed  arcades  each  side  graduated 
to   the    slopes   of   the    gable.     The    iirst 


302 


PISA 


story  probiibly  belongs  to  the  XI  cent., 
the  upper  part,  or  at  least  the  arcading,  to 
Nieeolo  Pisano,  iu  1262.  {See  Fig.  US.) 
S.  Fkancesco  is  a  plain  brick  xiii 
cent,  church,  attributed  to  Niccolo  Pi- 
sano,  long  degraded  to  the  uses  of  a  mili- 
tary storehouse,  but  lately  restored.  It 
consists  of  a  nave  about  175  ft.  long, 
covered  by  a  continuous  barrel-vault  of 
nearly  60  ft.  sjian  and  opening  into  a  tran- 
sept of  equal  width  and  about  140  ft.  long, 
from  which  open  eastward  a  square  vaiilted 
choir  and  three  smaller  chapels  on  each 
side.  The  vault  of  the  choir  is  decorated 
with  ancient  frescoes,  atti'ibuted  to  Taddeo 
Gaddi.  In  the  angle  of  the  north  transept 
two  boldly  projecting  corbels  are  made  to 
sustain  two  sides  of  a  higlicamjxinilo,  which 
above  the  roof  has  the  features  of  a  Lom- 
bard tower,  in  four  stories  with  pilaster- 
strips  at  tlie  angles  terminating  in  arched 
corbel-tables,  and  trijjle  windows  in  the 
belfry  stage  with  bearing  arches.  Two  fine 
cloisters  attached  to  the  church  on  the 
north,  though  modernized,  are  still  elegant. 
S.  FuEDiASO,  one  of  the  early  minor 
churches  of  Pisa,  of  which  tlie  foundation 
is  believed  to  date  from  the  xi  cent.,  but 
substantially  rebuilt  at  a  somewhat  later 
period.  Its  plan  is  about  53  ft.  wide  and 
125  ft.  long,  divided  into  nave  and  aisles  by 
seven  ancient  columns  on  either  side,  doubt- 
less taken  from  Koman  buildings,  and  bear- 
ing round  arches.  Tlie  nave  has  a  con- 
tinuous high  barrel-vault ;  the  aisles  are 
in  square  bays,  each  covered  with  a  low 
interior  dome.  The  nave  terminates  east- 
ward iu  a  square  choir.  Three  square 
chapels  opening  from  each  aisle  are  later 
additions.  The  facade  has  two  stories  of 
wall-arcades  after  the  characteristic  Pisan 
manner,  with  lozenge-shaped  panels  in 
the  arch  heads,  and  three  doorways. 
Over  the  nave  is  a  bare  gable,  apparently 
raised  above  its  original  height  when  the 
nave  was  vaulted. 

Sta.  Makia  della  Spixa,  a  familiar 
Gothic  church  on  the  bank  of  the  Arno,  re- 


markable for  its  small  size  and  for  its  pro- 
fuse and  elaborate  ornament.     It  is  an  ir- 
regular quadrilateral  about  27  ft.  by  52  ft. 
internally,  consisting  of  a  single  hall  with 
an  ojien  wooden  roof,  and  with  no  archi- 
tectural feature  except  a  vaulted  arcade  of 
three  I'ouud  arches  at  the  east  end,  carried 
on  heavy  columns.    The  elaborate  exterior 
is  banded  in  white  and  black  marble.    The 
low  walls  are  faced  with  an  arcade  of  seg- 
mental   arches,    which,  on    the  exposed 
southern  flank,  are  filled  with  the  tracery 
of  windows  now  mostly  stopped  up.   Over 
them  is  a  range  of  crocketed  canojiies  like 
the   stalls   of   a   cathedral,   fringing    the 
eaves  with  pinnacles,  and  filled  with  stat- 
ues, while  above  and  between  these  rise 
at   intervals  square  four  -  gabled  shrines, 
likewise  occupied  by  statues.     The  west 
end  has  twin  arches  containing  two  doors, 
and  above  them  a  singular  composition  of 
three  crocketed  gables,  the  higher  middle 
one  peejiing  out  between  the  others.     The 
whole  is  adorned  with  colonnettes,  foiled 
circles,  and  panels,  and  ends  in  five  four- 
gabled   canopies   with  statues.     The  east 
end  is  of  quite  a  different  character,  con- 
sisting of  three  high-pointed  arched  pan- 
els enclosing  single  narrow  windows,  and 
capped  with  high  gables  flanked  by  pin- 
nacled shrines  like  the  others.     Three  oc- 
tagonal spires   rise  out  of  the  roof  here, 
corresponding  to  the  three  bays  of  the  in- 
terior vaulted  arcade.     This  portion,  it  is 
conjectured,  was  the  whole  of  the  original 
building,  erected  in  or  near  1220  by  the 
Gualandi  family  with  the  aid  of  the  Sen- 
ate as  a  sort  of  shrine  for  the  sailors  of  the 
town.      The   rest   was   added   a   century 
later  by  the  city,  and  a  thorn  of  the  True 
Crown,    brought   home    from    the    Holy 
Land  by  a  Pisan  merchant,  was  enshrined 
in  it,  whence  the  name  of  the  church.     It 
is  believed  that  some  of  the  sculpture  is 
the   work   of   Giovanni   Pisano.     Having 
suffered  much  from  the  overflow  of  the 
river,  the   church   has   lately  been  taken 
dow'n,  rebuilt,  and  raised. 


PISA 


S.  MicHELE  IX  IJoKCio,  oiic  of  the  most 
ancient  of  Pisan  cliurclies,  belicvcil  to 
date  from  the  beginning  of  the  xi  cent., 
but  substantially  rebuilt  under  Niccolo 
Pisano  about  1230,  except  the  upper  part 
of  the  fa(;ade,  which  is  seventy  years  later. 
It  has  a  uave  and  aisle  in  seven  bays,  sep- 
arated by  columns,  part  of  which  are  of 
red  granite  brouglit  from  the  ruins  of  Ilo- 
man  and  other  temples,  a  shallow  square 
projection  at  the  east  end  for  the  altar, 
and  a  campanile  added  in  1G25.  The 
vaulted  crypt  belongs  to  the  older churfh, 
and  was  decorated  with  frescoes,  of  which 
traces  still  remain.  The  front  is  similar 
in  disposition  to  that  of  the  cathedral — a 
high  story  of  plain  wall,  of  white  marble 
relieved  by  n.irrow  courses  of  Ijlack.  ami 
with  three  scpiare  doorways  under  bear- 
ing arches,  the  central  one  surmounted  by 
a  triple  arched  shrine  enclosing  statues. 
Above  this  story  are  three  o^jcn  galleries 
of  pointed  and  cus})ed  arches  with  much 
delicate  and  interesting  detail. 

S.  Nicola,  an  ancient  Romanesque 
church  founded  about  1000  a.d.,  which 
has  undergone  many  partial  destructions 
and  rclniildings,  leaving  only  fragments 
of  the  original  round-arched  fa9ade.  Its 
remarkable  feature  is  its  fine  campanile, 
probably  built  by  Niccolo  Pisano  about 
1230,  an  octagonal  tower  some  24  ft.  in 
diameter,  of  two  high  stages  of  (Hiual 
height  with  angle  pilasters  joined  at  the 
top  of  the  secoiul  stage  by  round  arclies, 
under  which  are  panels  alternately  round 
and  lozenge-shaped.  Above  this  is  a 
graceful  open  arcaded  gallery  of  sixteen 
rounil  arches  supported  on  slender  shafts. 
A  smaller  and  later  hexagonal  l)el fry- 
stage  rises  above  the  gallery  with  angle 
pilaster  -  strips,  an  arched  corl)el-tal)le, 
small  round-arched  windows  and  an  oc- 
tagonal stone  roof.  The  tower  contains  a 
spiral  staircase  of  admirable  construction 
and  of  great  beauty,  enclosed  between  the 
outer  wall  and  an  ascending  arcade.  Va- 
sari  says  that  it  was   the  model  for  Bra- 


mante's  staircase  in  the  Belvedere  of  the 
Yaticim. 

S.  Paolo  a  Kipa  d'Auxo,  a  Roman- 
esque church,  said  to  have  been  founded 
by  ('harlemagne,  but  in  its  present  form 
dating  from  the  XI  and  xii  centuries.  Its 
plan  is  basilican  or  T-shaped,  measuring 
about  135  ft.  in  length  by  o-lft.  in  breadth, 
with  long  nave  and  aisles  separated  by 
granite  columns  with  marble  cajjitals  sup- 
jjorting  round  arches  and  a  clerestory,  and 
a  long  transept  with  central  dome  and 
ajise.  The  aisles  are  groin-vaulted  in 
square  bays  ;  the  nave  and  transej)t  have 
a  flat  ceiling.  The  exterior  is  like  the 
cathedral  in  miniature.  The  front  is  in 
four  stages,  the  first  of  the  xi  cent,  with 
some  later  changes,  very  high,  with  five 
blind  arches  on  flat  jiilasters  enclosing 
three  doors  and  with  marble  inlay  in  the 
arch  heads,  r(nind  and  lozenge  -  shaped. 
The  upper  and  later  stories  consist  of  ar- 
caded galleries,  with  slender  shafts,  some 
spiral  and  twisted.  The  wall-surface  is  of 
white  marble  varied  liy  thin  courses  of 
black.  The  flanks  are  in  l)lind  arcades  on 
pilasters. 

S.  PiETRO  A  Grado,  situated  on  the 
bank  of  the  Arno,  about  four  miles  from 
the  town,  is  one  of  the  most  venerable 
among  the  Pisan  churches.  Its  name  is 
due  to  a  tradition  that  St.  Peter  landed  in 
Etruria  uj>on  this  spot  and  built  here  a 
church.  It  was  originally  a  rectangle  of 
about  90  ft.  in  breadth  l)y  .50  ft.  in  length, 
with  its  triljune  on  the  west  end  toward 
the  sea.  This  disposition  was  changed 
afterward,  when  the  church  was  nearly 
trebled  in  length  eastward,  and  three 
apses  were  built  at  the  eastern  termina- 
tions of  the  nave  and  aisles,  the  western 
a^ise  being  however  retained  so  that  the 
entrances  are  in  the  sides.  The  nave  and 
aisles  are  in  thirteen  bays  covered  with 
open  roofs  and  are  separated  by  ancient 
columns,  some  of  Greek  marble  and  the 
remainder  of  granite,  joined  by  round 
arches,  above  which  rises  the  wall  of  the 


3U4 


PISTOIA 


clerestory  pierced  by  narrow  roiuul-lieaileil 
windows.  Two  lieavy  piers  break  the 
series  and  mark  the  jmictiou  of  the  old 
work  and  the  new.  The  exterior  differs 
from  tliat  of  most  of  tlie  Pisan  eliurclies 
in  being  e.ssentially  that  of  a  Lombard 
basilica,  the  walls  divided  into  bays  by 
pilaster-strij)s  terminating  in  arched  cor- 
bel-tables, and  otherwise  of  severe  sim- 
plicity. A  sqnare.  detached  campanile 
of  later  date,  but  similar  in  style,  stands 
near  the  N.  E.  angle  of  the  liiurch.  It 
is  in  foi;r  stages,  divided  by  tiiin  string- 
courses with  arched  corbel  -  tables.  The 
upper  orbelfry  stage,  having  a  simple  two- 
light  window  in  each  face,  is  Eeuaissance. 
There  is  controversy  over  the  age  of  this 
church.  Mothes  and  some  others  argue 
that  the  older  parts  are  of  the  v  cent.,  and 
the  additions  of  the  ix  ;  De  Fleury  and 
most  writers,  including  the  latest,  Deliio 
and  von  Bezold,  that  the  oldest  parts  are  of 
the  IX  or  x  cent,  and  the  later  of  the  xii. 
S.  Sepolcro  is  an  interesting  octagonal 
church  of  which  the  date  is  given  as  1125. 
It  is  the  work  of  Dioti  Salvi,  w-as  built  as  a 
chapel  attached  to  a  house  of  the  Knights 
Templar,  in  the  form  which  they  affect- 
ed as  that  of  the  Holy  Seiiulchi'e,  and  has 
much  the  character  of  the  Lombard  bap- 
tisteries. A  rhymed  inscription  tells  the 
builders  name  : 

Hujus  operii5  fiibi-icator 
Dens  te  Salvet  nomiiKitin-. 

A  central  octagon,  about  28  ft.  in  diam- 
eter, composed  of  banded  piers  carrying 
high  pointed  arches,  is  surrounded  by  an 
aisle  20  ft.  wide,  in  which  are  four  jilain 
square  doorways  under  arches,  and  above 
in  each  side  two  small  round-arched  win- 
dows. Above  the  roof  of  the  aisle  the 
w^all  of  the  central  octagon  is  carried  up 
as  a  clerestory,  pierced  with  a  single  small 
window  in  each  side,  and  crowned  by  a 
sharp  octagonal  stone  roof  very  slightly 
domed  within.  The  walls  are  of  stone 
and  with  little  ornament.     At  the  side  of 


the  church  stands  a  square  campanile  in 
three  stages — the  tirst  two  with  pilaster- 
strips  terminating  in  arched  corbel-tables, 
and  with  small  and  simple  openings.  The 
campanile  is  of  stone  to  the  height  of  the 
aisle  walls  of  the  church — above  this  ])oint 
it  is  of  brick,  having  evidently  been  re- 
built after  partial  destruction. 

S.  Stefano  .\i  C.w.vlieri,  one  of  the 
few  Renaissance  churches  of  Pisa,  and 
next  to  the  cathedral  the  largest  church 
in  the  town,  measuring  about  200  ft.  by 
110  ft.  It  was  begun  from  the  designs  of 
Vasari  in  1502,  but  its  plan,  originally  of 
great  simplicity,  consisting  of  a  great  nave 
52  ft.  wide  and  135  ft.  long,  with  a  small 
square  choir  terminating  in  a  round  apse 
and  flanked  by  two  rectangular  chapels, 
has  been  singularly  changed  by  the  addi- 
tion, in  1682,  of  aisles  connected  with  the 
nave  only  by  two  doorways  on  each  side, 
and  by  chapels  and  connecting  spaces  on 
the  east  end  completely  enclosing  the 
choir  and  apse.  The  nave  is  covered  by  a 
flat  wooden  ceiling  deeply  jianelled  and 
decorated  in  blue  and  gold,  with  paintings 
in  the  panels.  A  slender  bell-tower  rises 
from  the  south  side  of  the  choir.  The  ex- 
terior, of  jilain  brick,  was  provided  with  its 
fagade  of  marble  from  the  designs  of  Bu- 
ontalenti,  or,  as  some  say,  of  Giovanni  de' 
Medici  himself. 
PISTOIA,  Italy. 

The  Baptistery,  a  beautiful  early 
Gothic  building  built,  it  is  said,  by  Cel- 
lino  di  Xese  from  the  designs  of  Andrea 
Pisano,  and  finished  about  1350.  It  is  an 
octagon,  48  ft.  in  diameter  inside,  with  an 
octagonal  tribune  opening  from  the  side 
opposite  the  main  entrance.  The  interior 
is  simple,  lighted  by  high  narrow  windows, 
and  covered  by  an  octagonal  dome  wdiose 
crown  is  43  ft.  ahove  the  floor.  The  ex- 
terior is  of  white  marble  with  alternate 
narrow^  courses  of  black  or  dark  green 
marble.  It  has  jirojecting  angle-j)ilasters 
ending  in  i)innacles,  three  round-arched 
docjrwavs   on   three    sides,    and    on    four 


305 


PISTOIA 


otliers  a  single  narrow  pointed  arelied 
window.  The  principal  doorway  is  cajiped 
by  a  high  crocketed  gable  with  pinnacles, 
enclosing  a  small  wheel  window.  The  uj)- 
per  part  of  the  wall  is  encircled  with  a 
graceful  blind  arcade  of  cusped  pointed 
arches  with  gables,  separated  by  slender 
shafts.  The  wall  is  finished  by  a  low  open 
balustrade,  above  wliich  is  a  low  attic,  also 
with  angle  pilasters  ending  in  pinnacles, 
and  an  octagonal  roof  covered  by  an  open 
lantern.  Six  steps  surround  the  base  of 
the  building. 

The  Cathedkal  of  Sta.  Makia  is  a 
Lombard  church  of  the  Pisan  type,  with- 
out transept.  Its  plan  is  a  rectangle 
about  86  ft.  wide  and  170  ft.  long,  with  a 
vaulted  nave  and  aisles  of  ten  bays  di- 
vided by  round  columns,  carrying  round 
arches,  and  a  clerestory  with  square  w'in- 
dows,  probably  modern.  The  choir,  flanked 
by  modern  chapels,  has  one  projecting  bay 
terminating  in  a  great  apse,  built  at  the 
end  of  the  xvi  century.  The  floor  of  the 
choir,  raised  above  that  of  the  nave  and 
approached  by  steps  extending  the  whole 
breadth  of  nave  and  aisles,  covers  a  tine 
crypt,  divided  into  three  aisles  of  three 
vaulted  bays  each,  the  central  aisle  having 
a  square  projecting  sanctuary  to  the  east, 
and  the  side  aisles  each  a  lateral  chapel. 
The  exterior  has  a  fa9ade  much  like  that 
of  Pisa,  but  with  the  addition  of  a  project- 
ing open  arcaded  porch  or  narthex  of 
seven  round  arches  extending  across  its 
whole  width,  the  central  arch  much  stilt- 
ed, and  the  others  surmounted  by  a  heavy 
sciuare-panelled  attic.  The  porch  has  a 
barrel-vault  with  bas-reliefs  by  Andrea 
della  Hobbia.  Above  it  the  facade,  fol- 
lowing the  outline  of  the  nave  and  aisles, 
consists  of  two  stories  of  arcaded  gal- 
leries and  rows  of  graduated  colonnettcs 
under  the  gable  iind  half-gables.  The 
walls  of  the  aisles  are  high,  and  are  deco- 
rated with  blind  arcades  with  sfjuare  win- 
dows above,  and  in  the  arch-beails  lozunge- 
shai)ed  inlays  of  colored  marbles.     Over 


the  choir  is  a  square  lantern  with  small 
windows  and  a  flat  roof.  At  the  north  an- 
gle of  the  front  rises  a  fine  square  cam- 
panile, of  earlier  date  than  the  church 
and  serving  originally  the  jiurposes  of 
military  defence,  but  remodelled  at  the 
end  of  the  xiii  cent,  by  Giovanni  da  Pisa, 
when  the  three  stories  of  arcaded  galleries 
were  added,  making  it  one  of  the  finest 
towers  in  Italy.  The  cathedral  appears  to 
have  been  built  about  1100,  i-eplacing  an 
earlier  church  of  the  vi  century.  It  was 
probably  partially  rebuilt  in  1-2T2,  by  A'ic- 
eolo  Pisano. 

Madonxa  del  Umilta,  a  conspicuous 
and  interesting  Renaissance  church  be- 
gun in  149-t  by  Ventura  Vitoui,  but  only 
completed  in  1569.  It  is  an  octagon  !)0 
ft.  in  diameter,  faced  with  a  transverse 
closed  porch  or  narthex  35  ft.  wide  and 
100  ft.  long.  The  porch  is  covered  by  a 
barrel-vault  divided  into  bays,  of  which 
the  central  bay  rises  into  a  high  hem- 
ispherical dome   coffered    like  the  vault. 


Fig.  149— Pistoia,  Mad.  del  Umilft. 
Scale  o(   100  feet. 

The  octagon  is  in  four  stories,  of  which 
all  but  the  u]ipermost  are  encircled  Ijy 
Corinthian  orders  with  coujiU'd  pilas- 
ters. 'I"lu'  lower  order,  which  lines  the 
church    throughout,    is    on    high    j)edes- 


306 


PISTOIA 


tills.  In  the  octagon  its  intorvals  enclose 
arches  which  iu  the  axis  of  the  church 
open  into  the  narthex  and  into  the  op- 
posite choir,  a  single,  barrel-vaulted  bay. 
In  the  other  faces  are  altar  niches.  The 
second  and  third  stories  have  a  similar 
order  of  pilasters,  with  a  round-arched 
window  in  each  face,  with  rudimentary 
tracery.  The  fourth  story  is  a  high  attic 
from  which  springs  an  octagonal  dome 
and  lantern.  These,  which  were  added 
by  Vasari,  are  crude  iu  design  and  out  of 
keeping  with  the  exterior.    {See  Fig.  H9.) 

The  OsPEDALE  DEL  Ceppo.  the  great 
hospital  of  Pistoia,  originally  built  in  1277, 
but  restored  later,  consists  of  a  square  mass 
of  buildings  surrounding  a  court,  and  is 
notable  chiefly  for  its  long  fai/ade  in  two 
stories — the  first  a  broad  oiien  vaulted  ar- 
cade of  graceful  round  arches  springing 
from  Corinthian  columns,  the  second, 
rather  low,  with  scpiare  windows  with 
simple  dressings  over  the  arches.  This 
front  is  remarkable  for  its  frieze  about  •! 
ft.  high,  separating  the  two  stories,  exe- 
cuted in  1.528  by  Giovanni  della  Kobbia, 
in  colored  terra-cotta.  It  is  divided  into 
seven  panels  about  18  ft.  long,  correspond- 
ing to  the  arches  below,  and  filled  with 
subjects  in  high  relief,  representing  the 
seven  acts  of  mercy — the  visitation  of  the 
sick,  the  burial  of  the  dead,  etc. — the  fig- 
ures colored  as  in  a  picture.  The  spandrels 
of  the  arcade  are  ornamented  with  roun- 
dels in  terra-cotta,  enclosing  reliefs  by  vari- 
ous members  of  the  Delia  Robbia  family. 

Palazzo  Commuxale,  the  old  Town- 
hall,  built  between  1295  and  1350,  stands 
ou  the  great  square  north  of  the  cathe- 
dral ;  a  high  rectangular  building  of  four 
stories,  of  which  the  lowest  has  on  the 
front  an  open  arcade  of  five  low  jwinted 
arches  springing  from  single  square  jjiers. 
Above  these  is  a  range  of  five  pointed  and 
cusped  two-light  windows  under  low  bear- 
ing ai'ches,  the  central  window  having  the 
balcony  or  ringhiera  cliaracteristic  of  the 
town-halls  of  North  Italy,  from  which  the 


magistrates  addressed  the  peojile.  'J'he 
third  story  is  a  mezzanine  with  small 
square  windows  witii  trefoil  head,  and  the 
fourth  has  five  broad  and  line  three-light 
windows  with  pointed,  cusjied,  and  tra- 
ceried  heads,  enclosed  by  strong  bear- 
ing-arches at  the  spring  of  which  a  thin 
impost  moulding  runs  across  the  front, 
which  is  finished  by  a  flat  projecting 
cornice.  The  interior  contains  many  fine 
halls  decorated  with  frescoes  now  much 
decayed,  and  a  beautiful  court,  each  side 
of  which  is  supported  on  a  single  great 
round  arch  springing  from  angle  piers 
with  chamfered  corners  and  carved  capi- 
tals, the  wall  above  pierced  with  grouped 
windows  similar  to  those  of  the  upper 
story  of  the  fa9ade. 

Palazzo  del  Podesta,  or,  del  Preto- 
rio,  the  ancient  palace  of  the  magistrates, 
built  in  13GC,  is  a  square  mass  of  building 
adjacent  to  the  Bajjtistery,  with  an  im- 
posing facade  on  the  great  square  of  three 
stories,  the  lowest  a  plain  wall  pierced 
with  square  openings  and  a  simple  round- 
arched  doorway  giving  access  to  the  court- 
yard. The  other  two  stories  have  each 
a  range  of  seven  two-light  pointed  and 
cusped  windows  with  pointed  bearing 
arch.  Simple  string-courses  divide  the 
stories  from  each  other,  and  a  flat  project- 
ing cornice  crowns  the  front.  The  court 
is  small,  and  is  remarkable  for  retaining 
its  ancient  stone  bench  of  judgment,  a 
plain  seat  of  stone  with  a  massive  stone 
table  in  front  of  and  below  it,  from  which 
the  sentences  of  the  magistrates  were  de- 
livered. The  walls  are  covered  with  de- 
caying frescoes. 

S.  Andrea,  a  flat-ceiled  basilica  whose 
age  is  disputed,  but  whose  present  aspect 
dates  from  the  latter  half  of  the  xii 
century.  It  is  about  130  ft.  long  and 
50  ft.  wide,  with  nave  and  aisles  separated 
by  five  pairs  of  composite  marble  columns 
carrying  round  arches,  the  last  two  bays 
being  marked  off  as  a  choir  by  srjuare 
piers,   and   railed   in.     The   clerestory   is 


307 


PLAI8AXCE 


extranrdiiiarily  high.  Thu  I'arliur  IVoiit 
lias  been  foiisiderably  overbuilt :  the 
lower  and  older  part  has  a  quintuple  ar- 
cade of  slender  columns  containing  three 
doorways  of  the  Pisan  type,  handed  arehi- 
volts,   and   lozenge    panels.     The    upper 


ticcahly  deep.  The  ]ilan  and  the  nature 
of  the  masonry  seem  to  point  to  a  date  m 
the  A'l  cent.  B.C. ;  on  the  other  hand,  if 
this  is  in  fact  the  Herajum,  we  know  that 
it  was  built,  or  more  probably  merely  re- 
built or  adorned  in  its  cella  and   super- 


part,    covered    witli   ;i    dense    geometric     structure    by  the    Thebans,    after    their 


mosaic,  and  following  the  outline  of  the 
aisles  and  clerestory,  is  much  changed  by 
later  alteration,  especially  by  a  clumsy 
Renaissance  balustrade  across  the  whole, 
and  a  circular  window  above,  added  by 
the  Jesuits  in  1610.  On  the  lintel  of  the 
main  door  is  a  relief  of  the  Last  Judg- 


annihilation  of  Platwa  in  B.C.  4:iT. 

Walls  of  the  city,  about  two  and  a  half 
miles  in  circuit.  The  remains  are  exten- 
sive, and  can  be  assigned  to  five  distinct 
periods,  beginning  with  the  polygonal  style 
of  an  early  type,  and  ending  with  rough 
masonry  consisting  of  rubble  and  tiles  laid 


ment,  signed  by  the  sculptor  Gruamons  in  in  mortar — probably  Byzantine  or  very  late 

110(1.  and  in  the  nave  is  a  handsome  hex-  Roman.     The  main  walls  are  about  10  ft. 

agonal  pulpit  by  Giovanni  Pisano.  10  in.  thick,  and  in  places  are  still  over 

S.  Paolo  is  an  old  church  which  dates  Vi  ft.  high  and  of  excellent  workmanship. 

from  7-48,  but  was  rebuilt  in  1136.     The  They   are   strengthened    in    places    with 

interesting   j^art  is  the  front,  which  was  round  rectangular  towers,  particularly  in 

remodelled   after    1203,    and    finished   by  the  two  cross-walls,  one  within  the  other, 

Giovanni  Pisano  and  his  jjupil  Jacopo  di  which  make  the  base  of  the  triangle  with 


Matteo  about  1320.  It  is  banded  in  green 
and  gray  stone.  Round  arches  remain  be- 
low ;  above  them  is  a  graceful  pointed  ar- 
cade and  balustrade,  then  a  high-pitched 
crocketed  gidjle  enclosing  a  foiled  wheel- 


its  apex  toward   the  south,  rej)resenting 

the  plan  of  the  city. 

POLA  (anc.  Pietas  Julia).  Istria. 

Amphitheatke,    probalily    later    than 
Augustus.     It  stands  near  the  sea  on  the 


(low.     The    rich   pointed  main   door-     slojie  of  a  hill,  so  that  the  east  side  has  only 


way,  placarded  upon  the  old  round  arch, 
is  the  work  of  Giovanni  and  Jacopo,  the 
.sculpture  being  signed  by  Jacopo, 
PLAISAXCE.     See  Piacenza. 
PLAT.E.V,  Breotia,  Greece. 

IIer-ei'm,  or  Te.mple  of  Hera  (Juno). 
This  noted  sanctuary  is  recognized  with 
practical  certainty  in  the  remains  of  an 
important  Doric  temple  found  in  18!il  by 


one  story,  while  the  west  side  has  three 
stories.  In  jilan  it  is  ellii)tical  ;  the  greater 
axis  is  4.53  ft.,  the  lesser  369  ft.  ;  the  axes 
of  the  arena  are  229  ft.  and  147  ft.  The 
full  height  of  the  wall  is  97  ft.:  the  ex- 
terior is  rusticated  and  divided  into  three 
stories,  the  lower  ones  consisting  of  Tus- 
can arcades  of  seventy-two  arches  each, 
in   the   second   story   without    pedestals. 


the  American  School  at  Athens.     It  was     The  third  story  has  square  w'iiulows  be- 


on  a  terrace  about  120  ft.  broad,  rising 
some  6  ft.  above  the  neighboring  fields. 
It  was  54  ft.  9  in.  by  163  ft.  9  in.,  ori- 
ented east  and  west,  hexastyle.  peripter- 
al, undoubtedly  Doric,  with  pronaos  and 
opisthodomos  of  two  columns  in  antis, 
cella,  and  a  rather  small  treasury  behind. 
In  plan  it  was  somewhat  archaic,  being 
very  long  in  proportion  to  its  width,  and 
having  the  prouaos  and  opisthodomos  no- 


tween  pilasters.  The  exterior  wall  is 
broken  by  four  rectangular  towers,  wliich 
are  clearly  parts  of  the  original  building. 
Their  use  is  unknown  ;  but  it  has  been 
suggested  that  they  were  for  staircases  for 
women.  The  material  is  a  hard  white 
limestone,  almost  marble,  laid  in  large 
blocks  with  metallic  clainj)S  and  no 
mortar.  Tlie  outer  wall  is  nearly  ]icrfeet, 
but  the  interior  is  ruinous,  thougii  tiie  line 


306 


POLA 


of  the  podium  is  still  preserved,  as  well  iis 
traces  of  the  stairs  iuid  vomitories.  The 
arena  could  be  flooded  for  the  naumachy. 
The  estimated  capacity  is  twenty-two 
thousand  spectators. 

The  Cathedkal  was  tirst  l)uilt.  aci'oi-d- 
ing  to  an  inscription  still  standing  in  its 
wall,  in  857,  under  the  Emperor  Louis 
\'III.,  by  a  Bishop  Handegis  :  but  was  re- 
built as  it  now  appears  in  the  xv  cent., 
perhaps  preserving  the  old  jilaii.  It  is  a 
three-aisled  basilica  with  transept,  with 
nave  and  aisles  in  nine  bays  of  broad 
pointed  arcades,  and  ending  eastward  in 
the  straight  wall  which  probably  re- 
places an  earlier  apse.  The  choir,  which 
extends  into  the  uave,  has  been  raised, 
lowering  the  triumphal  arch,  that  may  be 
a  part  of  the  original  church,  as  may  be 
also  the  columns,  some  of  them  bearing 
antique  capitals  under  the  stilt  -  blocks, 
and  some  IJomanesque  or  Byzantine.  The 
bell-tower  is  of  the  last  century. 

The  PoiiTA  Erculea,  or  Gate  of  Her- 
cules, in  the  old  city-wall,  excavated  since 
1S45,  is  named  from  the  head  and  club  of 
Hercules  carved  beside  the  keystone. 

Porta  Gejlin'a.  a  double  Koman  gate- 
way in  the  okl  wall,  on  the  north  side 
of  the  capitol,  toward  the  amphitheatre. 
Tlie  two  arches,  side  by  side,  are  well 
proportioned ;  they  o^jen  between  three 
engaged  unfluted  Corinthian  columns, 
which  support  an  entablature  consisting 
merely  of  frieze  and  cornice.  The  attic 
is  gone. 

Temple  of  Diaxa  (?),  on  the  Forum 
(now  the  market-place).  It  was  a  nearly 
exact  duplicate  of  the  temple  of  Rome 
and  Augustus,  but  was  transformed  into 
a  palace  for  the  Venetian  governors,  to 
which  end  it  was  furnished  with  a  A'ene- 
tian  pointed  fa5ade.  It  serves  now  as  the 
Palazzo  Pubblico  or  town-hall.  On  the 
sides  the  original  dispositions  remain  to 
some  extent  visible. 

Temple  of  Rome  Axn  AfcusTis.  It 
remains   in   good  preservation,    and   now 


serves  as  a  jnusenni.  It  is  of  the  best 
period  of  Roman  art,  Corinthian  (unfluted 
columns),  tetrastyle  (the  portico  includes 
six  columns),  prostyle,  ground-plan  57  ft. 
by  '2G^  ft.,  on  a  high  stereobate,  reached 
by  a  flight  of  steps  in  front  ;  the  cella  is 
41^  ft.  by  3(5  ft.  outside.  The  height  of 
the  columns  is  271  ft.,  the  total  height 
44  ft.  The  material  is  limestone,  except 
the  shafts  of  the  columns,  which  are  in 
flne  white  marble.  The  bases  of  the  col- 
umns have  no  plinths.  The  foliage  of 
the  capitals,  the  frieze,  and  the  modillions 
have  a  richness  and  a  delicacy  scarcely 
surpassed  in  the  Augustan  age. 

Theatre.  The  site  is  still  visible  in  a 
semicircular  hollow  in  the  hill-side  above 
the  town.  A  great  part  of  the  stones  were 
used  in  1030  to  Iniild  the  citadel.  It  was 
finely  constructed  of  free-stone  ;  in  plan 
semicircular,  the  greater  diameter  about 
330  ft.,  that  of  the  orchestra  117  ft.  The 
cavea  was  divided  by  a  precinction  into 
two  ranges,  the  lower  of  fourteen  seats, 
the  upper  of  eleven ;  above  the  upper 
range  there  was  a  gallery,  and  back  of 
that  a  coveretl  Corinthian  portico.  The 
stage-wall  w'as  adorned  with  two  tiers  of 
Corinthian  columns. 

The  Triumphal  xVkcii  is  now  called 
Porta  Aurea  or  Porta  Aurata.  a  name 
which  belonged  jn-operly  to  the  destroyed 
neighboring  city  gate.  It  is  in  fact  a  mon- 
ument of  the  patrician  family  of  the  Scrgii, 
and  is  gracefully  proportioned,  consisting 
of  a  single  arch  of  13|  ft.  span  and  24| 
ft.  high,  between  two  pairs  of  Corinthian 
columns  supporting  a  broken  entablature. 
The  frieze  over  the  arcli  bears  an  inscrip- 
tion and  sculptured  chariots ;  over  the 
entablature  stand  three  jjedestals  which 
originally  bore  statues  of  the  Sergii,  and 
an  inscribed  attic.  There  are  winged  vic- 
tories in  the  sjiandrels.  The  imposts  of 
the  arch  are  received  upon  pilasters.  The 
material  is  a  hard  white  limestone ;  the 
ground-plan  30  ft.  by  7|  ft.  ;  the  total 
height  45|  ft. 


POMPEII 


POMPEII,  Italy. 

Amphitheatke,  occupyiug  the  eastern 
extremity  of  the  town.  From  the  testi- 
mony of  its  masonry  and  of  inscrijitions, 
it  was  probably  built  early  in  the  first 
cent.  !!.('.,  and  may  claim  to  be  the  oldest 
kiuiwn  Roman  amphitheatre.  It  is  in 
part  excavated,  so  that  the  comparatively 
low  exterior  walls  do  not  correspond  with 
the  height  of  the  interior.  The  plan  is 
the  usual  ellipse,  the  exterior  axes  being 
•3U^  ft.  and  426  ft.,  and  those  of  the 
arena  121  ft.  and  22(J  ft.  The  cavea  had 
thirty-five  tiers  of  seats,  which  could  ac- 
commodate about  twenty  thousand  peo- 
ple ;  they  are  divided  horizontally  by  two 
precinctions.  The  lowest  division  com- 
prised the  seats  of  honor  ;  in  the  middle 
of  each  of  the  long  sides  there  is  a  large 
box  in  which  there  are  only  four  steps  in- 
stead of  five,  adapted  to  receive  movable 
chairs.  The  middle  division  of  the  cavea 
is  subdivided  by  twenty  radiating  stair- 
ways, and  the  highest  division  by  forty. 
Above  the  highest  division  is  a  gallery  di- 
vided into  little  boxes,  to  which  there  is  ac- 
cess by  a  number  of  stairways ;  this  was 
presumably  for  women.  Behind  this  gal- 
lery there  was  another  for  the  w'orkmen 
who  managed  the  rcla  or  awnings.  The 
arena  has  large  arched  entrances  at  the 
two  ends.  Access  to  the  lowest  and  mid- 
dle divisions  of  the  cavea  is  by  stairs  aiul 
vomitoria  from  a  vaulted  corridor  concen- 
tric witli  the  arena;  to  the  highest  division 
by  a  wide  exterior  gallery,  supported  on 
arcades  and  provided  with  a  number  of 
stairs  leading  to  the  ground.  ]\Iany  of  the 
seats  remain  in  place ;  they  have  edge- 
mouldings,  and  depressions  for  the  feet  of 
the  spectators  of  the  next  tier  above,  like 
those  of  the  Small  Theatre,  but  are  formed 
(if  solid  Ijlocks  of  tufa.  The  arena  is  sur- 
rounded by  a  podium-wall  about  7  ft. 
high,  upon  which  was  set  a  stout  grating 
for  the  security  of  the  spectators.  This 
wall  was  ornamented  witli  paintings  of 
gladiatorial   subjects.      The    arena    itself 


has  a  simple  earth  floor,  with  none  of  the 
substructions  which  occur  in  uuiny  other 
amphitheatres. 

Basilica,  facing  on  the  S.W.  angle  of 
the  Forum.  In  plan  it  is  approximately 
a  rectangle  of  about  S3  ft.  by  220  ft., 
surrounded  on  all  four  sides  by  interior 
ranges  of  columns,  and  having  at  the 
western  end  a  rectangular  tribune  pro- 
jecting inward  from  the  back  wall.  It 
opened  on  the  portico  of  the  Forum  by 
five  doorways  separated  by  piers,  and 
probably  closed  by  wooden  barriers  and 
light  gratings.  Within  these  doorways 
was  a  narrow  vestibule  separated  from  the 
main  body  of  the  interior  by  a  flight  of 
five  steps,  two  piers,  and  two  central  col- 
umns. The  central  space  was  surrounded 
by  twelve  large  columns  on  each  side, 
with  two  interveiiing  at  each  end  ;  these 
columns  were  very  solidly  built  of  spec- 
ially shajied  bricks,  and  coated  with  fine 
stucco.  From  the  size  of  these  columns 
it  is  clear  that  there  can  have  been  no 
second  range  above  them.  To  the  central 
columns  corresponded  engaged  columns 
against  the  walls,  which,  as  well  as  the 
columns  of  the  vestibule  and  those  in  the 
line  of  the  front  of  the  tri])une,  are  of 
much  smaller  size,  indicating  that  there 
was  here  a  superposed  order.  Many  frag- 
ments, in  tufa,  of  this  order  have  been 
found,  with  Ionic  capitals.  They  show 
that  the  ujiper  story  consisted  in  great 
part  of  colonnades,  left  open  f(n'  the  light- 
ing of  the  building.  There  is  indication 
that  there  w'cre  no  floored  galleries  over 
the  aisles.  The  tribune  was  raised  about 
G  ft.  ;  it  was  entered  by  doors  in  the  walls 
which  closed  it  at  the  sides.  In  front  it 
had  six  columns,  whose  intercolumnia- 
tions  show  marks  of  gratings.  The  trib- 
une was  richly  ornanu'nted  with  mould- 
ed work  in  stucco.  Beneatli.it  there  is 
a  vaulted  chamber  of  problematical  use  ; 
it  does  not  appear  to  have  been  a  prison. 
The  building  had  a  timber  roof,  the  roof 
of  the  central  space  being  probably  sepa- 


.310 


POMPEII 


rate  from  that  of  the  aisles.  Tlie  wall- 
decoration  belongs  to  the  tirst  Pompeiian 
style,  imitating  encrustation  in  colored 
marbles.  In  date  the  building  is  pre- 
Poman,  falling  in  the  ii  century  B.C. 
It  was  damaged  by  the  earthquake  of  03 
A.D.,  and  a  more  or  less  complete  restor- 
ation, including  the  decoration  of  the  trib- 
une with  marble,  was  in  progress  when  the 
great  eruption  came. 

BriLDiXG  OF  EuMACHiA.  An  inscrip- 
tion shows  that  it  was  dedicated  by  the 
priestess  Eumachia  in  honor  of  Concordia 
Augusta  and  Pietas,  evidently  with  refer- 
ence to  Livia  and  Tiberius.  It  consists 
of  a  large  rectangle,  enclosing  an  open 
double-porticoed  court,  and  preceded  at 
the  end  toward  the  Forum  by  a  broad  por- 
tico of  seventeen  columns,  which  was  un- 
finished at  the  time  of  the  final  destruc- 
tion. Around  the  two  sides  and  the  back 
is  carried  a  spacious  covered  passage. 
Against  the  back  wall  is  a  large  semicircu- 
lar  apse  with  two  piers  in  the  line  of  the 
•wall,  flanked  by  two  small  apses.  The 
wall-painting  is  in  the  third  Pompeian 
decorative  style,  with  a  black  dado  and 
foliage-ornament,  the  panels  above  being 
alternately  red  and  yellow,  with  small 
landscapes.  The  building  dates  from 
about  50  A. D.  ;  it  was  much  damaged  by 
tlie  great  earthquake,  and  restoration  and 
further  enrichment  with  marble  encrusta- 
tion, etc.,  were  in  progress  at  the  time  of 
the  final  disaster. 

Curia  Isiaca.     See  Palcestra. 

Three  Cuei^  or  Tribunals,  as  com- 
monly called,  occupying  the  southern  end 
of  the  Forum.  The  three  buildings  are 
of  moderate  size  and  similar  jilan,  and  of 
construction  subsequent  to  the  earthquake 
of  G3  A.D.,  though  it  is  evident  that  they 
replaced  older  public  buildings.  The 
plan  of  all  includes  a  rectangular  hall 
with  an  apse  or  tribune  at  the  end.  They 
had  a  common  fa9ade,  which  formed  an 
•  architectural  pendant  to  the  Temple  of 
Jupiter  at  the  opposite  end  of  the  Forum. 


The  middle  building,  more  ornate,  was 
adorned  inside  with  colunnis  against  the 
walls,  perhajis  in  a  double  tier,  and  its 
tribune  was  occupied  by  an  enriched  edi- 
cule  presumably  for  a  statue  of  the  em- 
peror. The  porticoes  before  this  build- 
ing and  the  eastern  one  could  be  closed  by 
gratings.  All  these  were  paved  and  en- 
crusted with  marble,  and  had  timber 
roofs.  It  is  probable  that  the  middle  one 
was  the  senate-house  of  the  Decurions, 
that  the  eastern  one,  which  like  the  first 
could  be  securely  closed  by  gratings 
against  the  invasion  of  a  crowd,  was  the 
court  of  the  Duumviri,  and  that  the  west- 
ern one,  which  was  open  to  the  public, 
was  the  office  of  the  iEdiles,  among  whose 
functions  was  the  police  of  the  market. 

The  FoEUM  is  an  open  square,  about 
450  ft.  north  and  south  and  a  fourth  as 
wide  from  east  to  west,  which  was  lined 
with  open  ijorticoes.  The  northerly  is  oc- 
cupied by  the  Temj)le  of  Jupiter,  and  the 
southerly  abuts  against  the  three  Curia;. 
The  west  side  is  bordered  by  the  Basil- 
ica and  the  Temple  of  Ajjollo  ;  the  east 
bv  the  Macellum  or  Market,  the  Senacu- 
lum,  the  Temple  of  the  Genius  of  Augus- 
tus, the  Building  of  Eumachia,  and  the 
so-called  School.  The  porticoes  were  in 
course  of  reconstruction  at  the  time  of  the 
disaster  of  79  a.d.  The  older  structure 
remained  on  the  south  side  of  the  Forum, 
and  on  the  southern  part  of  the  east  side  ; 
its  columns  were  in  tufa  coated  with  stucco, 
of  so-called  Greek  style,  with  an  entabla- 
ture supported  by  wooden  beams,  the  whole 
being  of  rough  execution.  It  was  built 
by  the  quaestor  Yibius  Popidius.  When 
the  city  was  overwhelmed,  this  jiortico 
had  been  demolished  on  the  entire  west 
side,  and  in  part  rebuilt.  The  new  struct- 
ure was  in  limestone,  of  fair  construction, 
though  of  inelegant  design,  and  had  two 
stories.  The  architraves  of  the  lower  range 
of  columns  were  built  up  in  flat  arches. 
The  lower  order  was  Doric,  the  upper 
Ionic.     (See  Fiy.  130.) 

311 


I'dMl-KII 


The  Forum  Triaiigulurc  is  an  njioii  spaei> 
at  the  south  end  of  the  town,  tu'arly  tii- 
aiifjuhir  in  shape,  and  bordered  by  open 
colonnades.     It  is  adjoined  on  the  N.  E. 


of  this  court  arc  Doric,  aliout  1"2  ft.  high, 
well  formed  and  of  good  execution.  They 
date  from  the  tufa  period,  and  appear  to 
be  contemporaneous  with  the  Great  Thea- 


Fig,   150, — Pompeit,  Forum. 


by  the   Great  Theatre,  and   contains   the     tre.     The   cells   are   evidently  later  than 

Greek  Temple.  the  porticoes,  and  it  is  probable  that  the 

The  Gladiatous' Barracks,  sometimes     original  Ijuilding  was  to  shelter  the  spec- 


called  a  market,  consists  of  a  colonnaded 
court  al)init  148  ft.  by  187  ft.  surrounded 
by  a  double  tier  of  .small  cells,  seventy- 
one  in  all,  opening  on  the  porticoes  below 
and  on  a  covered  wooden  gallery  above. 
Tlie.se  were  evidently  the  sleejjiug-quarters 
of  the  gladiators.  The  ranges  of  cells  are 
interrupted  at  intervals  by  chambers  ap- 
propriated to  other  uses,  including  stair- 
ways, a  wide  stair  in  the  N.  W.  corner  de- 
scending to  the  l''(iruni  Triangularc,  a 
chapel  with  trojihies  on  the  south  side,  a 
prison,  some  better  rooms  for  officers,  and 
what  seems  to  have  been  a  dining-room  on 
the  east  side  communicatin<j  with  a  large 


tators  in  the  theatre  in  the  event  of  a 
storm,  and  was  later  altered  to  lodge  the 
gladiators.  It  is  estimated  that  it  could 
accommodate  one  hundred  and  forty-two, 
exclusive  of  officers — not  an  unreasonable 
number,  since  there  is  record  of  as  many 
as  forty  jiairs  fighting  together  at  I'dui- 
peii  in  a  single  day,  beside  combats  with 
wild  beasts. 

lIorsH  OK  TiTK  Centhxaky.  This  im- 
portant dwelling  is  of  the  type  developed 
from  two  houses  side  by  side,  one  atrium 
and  the  rooms  around  it  being  appropri- 
ated especially  to  purposes  of  display,  and 
the    other  reserved   for  household  needs. 


kitchen.  In  the  N.  K.  angle  is  a  graceful  In  this  example  the  left-liand  atrium  is 
Ionic  ])ortico  of  three  I'olunms  with  a  the  finer.  Reliind  it  lies  a  beautiful  S(|uare 
guard-chamber  on  one  side.     The  columns     peristyle  with  twenty-two  Doric  columns. 


312 


rojrPEii 


two-storieil  on  the  side  toward  the  front. 
Oil  tlie  peristyle  open  several  summer  and 
winter  dining-rooms,  exedras,  and  at  the 
back  a  large,  ojjen,  well-ventilated  sitting- 
room,  behind  which  is  a  very  small  gar- 


and  rollnx).  or  of  the  (^ua'stor.  is  for  the 
beauty  of  its  decoration  and  the  complex- 
ity of  its  details  one  of  the  most  important 
dwellings  of  Pomjjeii.  It  is  formed  of 
three  houses  side  by  side  thrown  into  one, 
ticn.  The  service  atrium  has  a  garden  of  those  on  the  sides  retaining  practically 
moderate  size  on  its  right  hand,  and  stairs     their  original   arrangement,  and    that   in 


to  the  upper  story.  A  long  passage  leads 
back  to  a  kitchen,  stable,  cellar,  and  an 
unusually  si)acious  and  complete  private 
bath,  witli  frig  ida  rill  III  or  cold  bath,  ajjo- 
di/feriuin  or  dressing-room,  fepidariuni  or 
warm-air  chamber,  and  caldarium  or  warm 
bath.     This  portion  of  the  house  contains 


the  middle  devoted  entirely  to  a  handsome 
peristyle  with  central  tank  and  garden,  a 
spacious  oecHs  or  state  chamber  with  walls 
encrusted  with  marble,  and  two  small 
bedrooms.  The  house  on  the  left  jire- 
seuts  a  twelve-columned  Corinthian  atri- 
um, surrounded  by  the  iisual  rooms,  in- 


also   a   secluded   and  splendidly    painted     eluding  two  dining-rooms.     At   the  rear 


is  a  peristyle  and  garden,  with  free-stand- 
ing columns,  however,  on  only  one  side ; 
on  this  open  the  kitchen  and  the  winter 
dining-room,  as  well  as  the  cecus  of  the 
middle  house.  The  figure  j'^inting,  of 
mythological  subjects,  is  among  the  most 
interesting  of  Pompeii.  That  of  the  ta- 
blinum  and  of  the  triclinium  next  it,  on 
blue  grounds,  is  especially  noteworthy. 
The  decoration  of  the  middle  house  is  al- 

tvle.     The 


tridiiiiiiiii  or  dining-room,  which  has  an 
independent  entrance  on  a  side  street,  ev- 
idently designed  for  somewhat  riotous  fes- 
tivities. The  house  appears  to  be  of  Ro- 
man republican  date,  and  its  mural  paint- 
ing is  in  part  apparently  contemporane- 
ous with  the  house  and  of  the  so-called 
candelabrum  style,  and  in  part  of  the  lat- 
est Pompeian  style.  Tlie  decoration  of 
the    secluded    triclinium,   consisting     of 

brilliantly   colored   groujis   of   figures  on     so  excellent,  though  later  in 
dark    grounds,    mostly 
black,    is   among   the 
most    remarkable     in 
Pompeii. 

The  House  of  Cor- 
nelius RuFus  is  note- 
worthy for  the  remains 
of  its  handsome  atrium, 
with  a  bordered  implu- 
vium  in  the  middle,  by 
which  still  stand  the 
marble  standards  of  a 
table,  gracefully  carved 
with  lions,  that  have 
been  often  imitated  by 
modern  designers.  A 
terminal  figure  of  Rufus 
with  its  inscription  gives  its  name  to  tlic 
house  ;  and  behind  the  tablinnm  and  triclin- 
ium are  .seen  the  eighteen  Doric  columns 
of  the  elegant  peristyle.     {See  Fig.  151.) 

The  House  of  tue  Dioscuri  (Castor 


Fig.  151. — Pompeii,  House  of  Cornelius  Rufus. 

right-hand  house  is  much  plainer,  and 
doubtless  was  chiefly  occupied  by  the 
slaves  of  the  household.  The  house  was 
named  House  of  the  Quaestor  from  the 
presence  in  the  atrium  of  the  left-hand 

313 


POxMrElI 


house  of  three  metal -plateil  ami  lined 
inoiiey-chests ;  but  as  there  were  no  qu:¥s- 
tors  in  Pompeii  iit  the  time  of  its  destruc- 
tion, the  name  House  of  the  Dioscuri, 
from  the  subject  of  one  of  the  wall-iiaiiit- 
ings,  is  now  preferred. 

The  lIousE  OF  THE  Faux,  or  of  the 
flHEAT  Mosaic,  formerly  called  House  of 
(ioethe.  from  the  poet's  son,  is  one  of  the 


Fig.  152. — Pompeii,  House  of  tiie   Faun. 

most  stately  of  Pompeian  residences.  It 
occupies  the  sites  of  two  older  houses  in 
width,  and  presumably  of  two  in  depth 
also.  The  front  part  preserves  much  of 
the  orifjinal  arrangement  of  two  houses 
side  l)y  side,  with  two  entrances  and  two 
atria.  Hehind  one  of  the  atria  there  is  a 
tiihUxinii  oi-  drawing-room  between  two 
diuiiig-rooins  (Iricliiiin).  and  behind  the 
otiier  are  the  fauces,  giving  access  to  the 
kitchen,  baths,  and  other  domestic  ser- 
vioes.  The  fine  peristyle,  about  80  ft. 
by  f)5  ft.,  had  twenty-eight  l<}iii<;  columns 
ill  tufa  coated  with  thin,  hard,  white 
stucco,  and  was  surmounted  by  a  gallery 
in  the  second  story.  At  the  liack  of  the 
peristyle  lies  an  exedra,  with  two  Corin- 
thian (!olumns  1)1  aiifis  and  open  at  the 
back  toward  the  great  garden  excei^t  for 
a  low  division-wall.  Iti  this  exedra  was 
found  the  remarkable  mosaic  of  the 
liattle  of  Alexander  against  Darius,  now 
in  the  Xational  Museum  at  Naples,  which 


gives  one  of  its  nanu's  to  the  house.  The 
garden,  which  occupies  the  entire  sites  of 
two  houses,  is  surrounded  by  a  j^ortico  of 
fifty-six  Doric  columns.  The  decoration 
of  this  house  is  remarkable  for  the  profu- 
sion of  mosaics  ;  they  begin  in  the  very 
entrance-passage,  which  is  the  most  ornate 
in  Pompeii.  There  is  also  much  relief- 
ornament  in  stucco,  and  painting  in  imi- 
tation of  colored  marbles,  but 
comparatively  little  pictorial 
wall-painting.  {iSee  Fig.  152.) 
House  of  Goethe.  See 
IFiiu.sc  of  the  Faun. 

House  of  Holcoxius  Pu- 
Fus,  a  dwelling  of  moderate 
size  but  interesting  from  the 
regularity  of  its  plan  and  for 
its  details.  The  street  fronts  as 
usual  arc  bordered  by  shops, 
several  of  which  consist  of  two, 
three,  or  even  more  rooms.  The 
entrance  -  jiassage  leads  to  a 
somewhat  small  atrium  of  the 
so-called  Tuscan  type  without 
columns,  upon  which  ojien  the  iTsual 
rooms.  On  one  side  of  the  handsome 
tahliiniin  or  drawing-room  at  the  1)ack 
of  the  atrium  was  the  stair  to  the  upper 
story,  on  the  other  the  passage  {fainr.i) 
to  the  rear  part  of  the  house.  The 
peristyle,  somewhat  irregular,  was  colon- 
naded in  the  second  story  as  well  as  be- 
low. The  lai'ge  dining-room  is  enclosed 
and  is  jilaced  on  one  side  conveniently 
near  the  kitchen.  At  the  back  of  the 
peristyle  is  a  fine  exedra,  or  summer  din- 
ing-room, which  is  flanked  by  two  smaller 
rooms.  Till!  wall-paintings  include  Bac- 
chic and  musical  suhjects.  and  some  of  the 
rooms  are  ]ia\('il  with  marlile. 

House  of  .Mei,ea(;:;i!,  a  stately  dwel- 
ling in  whirh.  as  in  the  house  of  Sallust, 
the  |iri\iitr  apai'l  iiieiit.-<  sin'roiindiiig  the 
}ieristvh'  are  phircd  lie.-idr  the  |iiiMir  |iiir- 
tidii  of  the  house  ahdiit  the  alriuiii.  in- 
stead of  in  the  normal  jiosition  heliind  it. 
The  house   has   no  shoi)s  connected  with 


314 


rOMPEII 


it.  Tlie  atrium  is  Tuscan,  witliout  col- 
umus  ;  the  rooms  opening  on  it  are  fewer 
and  simpler  in  plan  than  usual.  The  peri- 
style, entered  from  the  atrium  by  an  or- 
namented doorway  of  four  lea.ves.  is  very 
large,  and  has  a  wide  jiortieo  supported  by 
twenty-four  columns  wliicli  ai'e  smooth 
and  colored  red  below,  and  fluted  and 
white  above,  with  fanciful  capitals.  In 
the  court  was  a  ganlen  surrounding  a 
jiisciua  of  complicated  design.  At  the 
back  lies  an  open  or  summer  dining-room, 
along  whose  rear  and  side  walls  are  ranged 
twelve  columns  which  seem  to  have  suji- 
jiorted  a  gallerj'.  On  either  side  of  this 
room  there  is  a  spacious  exedra,  and  in 
the  left  hand  corner  in  a  j^rojecting  ell  is 
a  large  closed  dining-room,  beside  which 
is  the  commodious  bedroom  of  the  master 
of  the  house.  Some  rooms  of  the  upjier 
story  remain  in  good  condition.  The 
decoration  of  this  house  is  throughout  very 
rich.  The  floors  are  of  mosaic  or  of  ojiits 
fif/iiiinim  with  inlaid  jiatterns.  The  wall 
painting,  in  the  late  Roman  styles,  is  lav- 
ish ;  its  subjects  include  Meleager  and 
Atalanta  (in  the  entrance-passage),  from 
which  the  liouse  is  named,  Paris  and 
lli'len,  (ianymede  and  the  Eagle.  Silenus 
and  the  Infant  Bacchus,  many  scenes  in 
which  figure  cupids,  nymijhs,  and  satyrs, 
and  fantastic  architectural  devices. 

House  of  Pansa,  one  of  the  largest 
and  most  stately  dwellings  in  Pompeii, 
and  of  very  regular  plan,  so  that  it  has 


[B^t  inn-iirl  riT. 


Fig.  153. — Pompeii,  House  of  Pansa. 

been  selected  more  than  once  for  repro- 
duction, as  in  Paris,  and  at  Saratoga,  Xew 
Yoi-k.  It  occupies  the  entire  sjiace  be- 
tween  four  streets.      It  dates    from    the 


old  or  tufa  period,  and  shows  modifica- 
tions of  Roman  date,  the  chief  of  which 
are  the  numerous  shops  on  the  street- 
fronts.  Some  of  these  form  small  houses 
in  themselves,  with  many  rooms,  and 
among  them  is  a  complete  bakery.  The 
entrance  is  preceded  by  a  small  vestibule. 
The  atrium  is  of  the  Tuscan  type,  without 
cohimus  about  the  central  pi.scina ;  it 
has  at  the  side  small  bedrooms  and  two 
alee  or  wings,  the  latter  with  fine  mosaic 
pavement,  and  at  the  back  a  fablinum  or 
drawing-room,  on  one  side  of  which  is  the 
passage  {fauces)  to  the  jirivate  part  of  the 
house,  and  to  the  spacious  peristyle,  which 
has  sixteen  columns  about  the  central 
court  with  its  piscina,  and  was  surrounded 
by  a  gallery  in  the  second  story.  On  one 
side  of  the  peristyle  lies  the  dining-room 
{triclinium).  On  the  other  side  is  a  range 
of  bedrooms,  outside  of  which,  on  the  side 
street,  are  placed  the  kitchen  and  a  stable 
and  carriage-house.  At  the  back  of  the 
peristyle  is  the  chief  room  in  the  house, 
the  cecus,  so  called.  The  garden,  arranged 
in  long  jjarallel  beds,  appears  to  have 
been  a  vegetable-garden.  The  mural  dec- 
oration of  this  fine  house  has,  unfortu- 
nately, for  the  most  part  jierished.  Several 
of  the  bedrooms  of  the  secoiul  story  remain 
in  part ;  in  them  the  excavators  found  a 
quantity  of  feminine  ornaments  and  toilet 
accessories.     {See  Fi(j.  153.) 

HorsE  OF  PopiDiUH  Secuxdus,  for- 
merly called  Casa  del  Citarista.  This  is 
among  the  most  considerable  of  Pompeian 
residences,  occupying  the  sites  of  at  least 
three  earlier  houses.  The  front  portion, 
with  the  two  handsome  iJcristyles  behind 
it,  dates  from  the  tufa  period  ;  the  irAvi 
behind  these  peristyles  is  of  Roman  date, 
containing  a  large  and  finely  decorated 
cecus  or  state-chamber,  two  dining-rooms, 
and  a  very  complete  stable  and  carriage- 
house  ;  so  also  is  the  addition  on  the 
north,  itself  practically  a  complete  house 
with  independent  entrance.  Connected 
with  the  older  part  of  the  liouse  there  is  a 


315 


POMPEII 


bath  ol'  two  rooms.  The  wall-paiiitiug  is  ing  wliicli,  thougli  only  of  moderate  size, 
exeelleut ;  tlie  best  subjects  have  been  re-  is  I'emarkable  for  the  abundance  and  ex- 
moved  to  the  National  Museum  at  NapU's.  cellent  taste  of  its  decoration.  It  is  the 
lIursE  OF  >Salll"8T,  a  dwelling  of  the  liome  of  (ilaucus  in  Bulwer's  '•  Last  Days 
oldest  or  tufa  jjcriod,  to  which,  under  the  of  Pomjieii."  The  street-entrance  opens 
Empire,  were  added  on  one  side  the  later  on  a  somewhat  long  passage  flanked  by 
Uomaii  luxuries  of  a  peristyle  with  sum-  two  shops  and  leading  to  the  atrium, 
mer  triclinium  and  separate  kitchen.  The  This  has  on  both  sides  bedrooms  and 
chief  street-front  is  occupied  by  shops,  offices,  and  two  stairways  to  the  upper 
the  first  of  whicli  is  a  complete  bakery  of  story.  At  the  back  of  the  atrium  is  a 
four  rooms,  with  mills  and  oven  and  a  handsonu>  tablinuiit  or  drawing-room,  be- 
stairto  living-rooms  above.  Others  of  the  side  which  is  the  passage  (faiiccx)  leading 
shops  seem  to  have  been  cook-shoj^s  and  back  to  the  j^eristyle,  surrounded  on  three 
to  have  been  conducted  by  the  slaves  of  sides  by  columns.  Among  the  works  of 
the  occupant  of  the  house.  The  atrium  art  found  iu  this  house  are  the  familiar 
is  a  handsome  Tuscan  hall  without  col-  Care  Canein  mosaic  from  the  entrance- 
umns;  on  it  open  the  usual  rooms  with  a  jiassage,  and  the  mural  paintings  of  the 
fine  tabUnuni  or  drawing-room  at  the  Surrender  of  Briseis  by  Achilles  to  Aga- 
back.  The  decoration  is  of  the  earliest  memnon"s  Herald,  the  Marriage  of  Jupi- 
style,  imitating  encrustation  in  colored  ter  aiul  Juno,  and  the  Sacrifice  of  Iphige- 
marbles.     At  the  back  is  a  portico  which  nia. 


turns  the  angle  of  the  house,  and  within 
which  lies  the  winter  dining-room.  Out- 
side this  is  a  narrow  garden,  occupied  chiefly 
by  a  sanded  patli,  with  Ijoxes  for  plants  on 
each  side.  The  back  wall  is  jjainted  with 
trees  and  shrubs  to  give  the  illusion  of 
space.  In  one  corner  of  the  garden  is 
built  the  summer  dining-room.  Fnnn  the 
right  of  tlie  atrium  a  jjassage  leads  to  the 
Koman  addition.  The  peristyle  here  en- 
closes a  flower-garden  on  three  sides,  and 
has  at  the  back  two  richly  ornamented 
bedrooms.  A  Ijalcony,  upon  which  the 
rooms  of  the  upper  story  opened,  extended 
over  two  sides  of  the  peristyle.  The 
nuiral  jiaintings  in  this  part  of  the  house, 
iu  tlic  two  latest  Roman  styles  of  Pompeii, 
present  a  sharp  contrast  witJi   the  severe 


Market  or  Macellim,  often  called  the 
Pantheon.  In  plan  it  is  approximately 
rectangular,  the  facade  on  the  Forum 
adorned  with  a  portico  of  slender  Ionic 
marble  columns  in  two  stories,  at  the 
back  of  which  was  a  range  of  small  booths. 
The  chief  entrance  is  double,  the  two 
doorways  being  separati'd  by  a  niclie 
flanked  by  Corinthian  columns.  There  is 
evidence  that  the  large  open  area  now 
forming  most  of  the  interior  was  sur- 
rounded by  a  wide  portico  ;  this  left  open 
a  central  rectangle,  in  which  appears  a 
dodecagonal  foundation,  around  which 
stand  twelve  s([uare  bases  of  masonry. 
These  have  been  taken  for  altars  to  the 
Twelve  Gods,  or  bases  for  their  statues, 
but  it  is  more  likely  that  they  served  to  re- 


and  stately  decoration  of  the  older  part  of  ceive  the  supports  of  a  light  dome  cover- 

the  house.     Among  them  are  some  of  the  ing   a   fountain.      On   the   north   side   a 

best  examiiies  of  Pompcian  figure-painting,  range  of  booths  faces  outwardly  on  a  side 

the   principal    subjects   being    Paris    and  street,  and    on   the   south  side  a  similar 

Helen,  Mars  and  Venus,  Europa  and   the  range  of  snuiller  booths,  each  about  9  ft. 

Bull,    and    the    Punishment  of    Actawi.  by  10  ft.,  fronts  on  the  court.     The  back 

The  last  painting  is  of  the  unusual  size  of  is  occupied  by  three  large  compartments. 

10  ft.  by  13  ft.  That  in  the  mi(hlle,  plaiidy  a  temple,  has 

House  ov  tiik  Tkauic  Poet,  a  dwell-  a  pronaos  in   wliich  live  stejis  rise  to  the 

31C 


POMPEII 


celki.  wliirli  has  a  liase  fur  tlic  cult-statuo 
at  tlie  back,  ami  \va.s  apparently  dedi- 
cated to  the  cult  of  Augustus.  The  left- 
hand  compartment,  toward  the  north,  is 
also  a  jilace  of  worship.  The  right-hand 
compartment,  toward  the  south,  is  sur- 
rounded at  the  sides  and  back  by  a  stone 
bench  standing  free  from  the  wall  and  in- 
clined toward  the  front,  as  Italian  stone 
market-tables  are  made  to  this  day.  This 
cannot  be  more  appropriately  explained 
than  as  a  place  for  the  display  of  meat 
and  fish  for  sale,  and  this  identification  is 
strengthened  by  the  presence  of  conveni- 
ences for  the  free  use  of  water  and  for 
easy  drainage.  The  walls  of  the  booths 
and  chambers  are  jiainted  in  the  latest 
Pompeian  style  with  conventionalized 
architecture  and  in  bauds  and  panels.  In 
the  shrine  of  Augustus  the  chief  panels 
bear  Greek  mythological  subjects,  such  as 
lo  and  Argus,  and  Phrixus  on  the  Earn, 
and  the  panels  above  these  display  fish, 
flesh,  and  fowl  of  all  kinds,  subjects  ap- 
propriate to  a  market,  which  recur  in  the 
other  chambers.  The  date  assigned  to 
this  structure  from  the  character  of  the 
architecture  and  decoration  and  the  ar- 
rangement of  the  shrine  of  Augustus, 
falls  between  14  and  23  a.d. 

Pal.estka,  behind  the  Great  Theatre, 
between  the  Forum  Triangulare  and  the 
Temple  of  Isis.  It  has  been  called  Curia 
Isiaca,  or  place  of  initiation  to  the  Mys- 
teries of  Isis  ;  but  for  this  there  is  no  evi- 
dence. The  interior  is  surrounded  on 
three  sides  by  a  portico  of  slender  Doric 
ciilunins  of  tufa.  It  is  plain  that  the 
portico  originally  extended  all  round, 
and  that  in  a  restoration  of  the  temple  of 
Isis.  probably  after  the  earthquake  of  03 
A.D.,  a  considerable  piece  was  taken  from 
the  palsstra  and  added  to  the  precincts  of 
the  temple.  Inside  it  was  found,  during 
the  excavation  of  1T97,  the  famous  Dory- 
phoros  copied  from  Polycletus,  now  iu 
the  National  Museum  at  Naples.  In  date, 
the  pala?stra  is  pre-Koman. 


Paxtiiicdx.      See  Market. 

The  School,  so-called,  can  hardly  have 
been  a  school,  though  no  better  identifica- 
tion has  been  made  out.  The  manifest 
disjiositions  for  the  entrance  of  a  file  of 
persons  by  the  side  door  and  their  exit  by 
a  door  on  the  Forum  are  suitable  for  vot- 
ing. It  forms  a  large  quadrangle  of  some- 
what irregular  form.  In  the  middle  of 
the  south  side  is  a  large  raised  rectangular 
tribune  or  platform.  On  the  side  toward 
the  Forum  was  a  portico  of  eight  columns, 
irregularly  spaced.  That  the  building 
was  of  importance  is  shown  by  the  fact 
that  it  was  generously  encrusted  with 
marble.  The  original  construction  was 
pre-Koman,  but  important  alterations 
were  made  at  two  periods,  the  first  2)rob- 
ably  Eepublican,  and  the  second  after  the 
earthquake  of  G3  a.d. 

The  Senaculum  or  House  of  the  ])e- 
CURIONS,  so-called,  a  large  structure  on 
the  east  side  of  the  Forum,  occuj)ies  a 
rectangular  area  60  ft.  by  05  ft.,  witli 
a  large  semicircular  apse  at  the  back,  and 
a  wide  rectangular  recess  on  each  side, 
separated  from  the  central  area  by  two 
columns.  The  apse  is  ornamented  with 
columns  which  stand  free  along  its  walls, 
and  has  in  the  middle  a  large  edicule 
flanked  by  columns,  and  with  a  two-tiered 
pedestal  for  statues.  There  are  eight 
smaller  niches  for  statues  in  the  walls  of 
the  rectangular  area,  which  has  a  rich 
pavement  of  marble  of  different  colors, 
and  an  altar  in  the  middle.  The  bases  of 
eight  columns  stand  in  front  of  the  area 
on  the  edge  of  the  Forum,  but  there  is  no 
indication  of  any  architectural  se])aration 
between  the  area  and  the  public  sjjace  in 
front.  This  is  a  strong  argument  against 
the  identification  as  the  Senaculum,  for 
the  sittings  of  the  Decurions  could  not 
have  been  conducted  entirely  in  jjublic. 
The  apse  and  the  side  recesses  were  evi- 
dently covered,  but  it  is  doubtful  whether 
the  central  area  was  ever  roofed.  It  may 
have  had   a  roof  of  timber.     The  archi- 


317 


POMPEII 


tecture  and  decoration  fix  tlic  date  liefore 
50  A.D. 

Temple  ((ircek)  uu  the  Forum  Triangu- 
lare,  long  called  the  Temjile  of  Hercules, 
but  now  thought  to  have  been  dedicated 
to  Apollo  or  Artemis.  Little  remains  but 
the  massive  stereobate  of  gray  tnfa,  traces 
of  the  cella,  and  a  nnmber  of  architectural 
fragments.  It  was  probably  destroyed  be- 
fore the  empire,  ami  replaced  Ijy  a  later 
shrine.  The  original  temi)le  appears  to 
have  dated  from  the  vi  cent.  B.C.,  and 
to  have  resembled  Temple  0.  at  Selinus. 
The  stereobate  of  five  steps  measiires  at 
the  top  step  56|  ft.  by  89  ft.  The  tem- 
ple was  hexastyle,  with  eleven  columns  on 
the  flanks,  and  the  cella  was  very  small 
in  proportion.  Its  side  walls  projected 
in  two  anta>  in  the  line  of  tlie  third  lateral 
column  on  each  side.  The  columns  were 
3  ft.  10  in.  in  diameter  at  the  base,  and  3 
ft.  1  in.  at  the  neck  :  the  echinus  is  heavy 
and  projects  strongly.  The  rough  tufa  of 
the  shafts,  which  had  eighteen  channels, 
was  coated  with  fine  stucco.  The  capitals 
are  of  finer  stone.  The  gutter  was  orna- 
mented witli  terra-cotta  lion -heads  of 
archaic  type. 

Temple  of  Apollo,  long  known  as  the 
Temjile  of  Venus,  on  the  west  side  of  the 
Forum,  a  large  peripteral  structure  facing 
the  sonth,  in  a  peribolos  surrounded  by  a 
colonnade.  The  identification  rests  upon 
an  inscription  on  the  cella  floor,  and  is 
strengthened  by  the  presence  of  an  om- 
phalos, and  of  a  painted  tripod  on  a  pi- 
laster of  the  court.  The  temple,  which 
faces  the  south,  was  hexastyle,  Corinthian, 
with  ten  columns  on  the  flanks,  standing 
on  a  high  basement  with  a  central  flight 
of  steps.  The  cella  was  proportionately 
very  small  with  a  deep  portico  before  it. 
A  great  part  of  the  floor  was  covered  with 
a  yery  tine  geometrical  mosaic  with  a 
meander  border,  formed  of  marbles  of  dif- 
ferent colors.  Before  the  entrance  steps 
stands  the  sacrificial  altar.  The  structure 
dates  from  tlie  tufa  period,  but  was  re- 


stored in  the  last  days  of  Pompeii.  The 
portico  of  the  periliolos  was  originally  of 
two  stories;  the  columns  of  the  lower 
range  were  Ionic,  but  were  transformed 
into  Corinthian  with  stucco,  and  the  en- 
tablature was  Doric.  Tlie  lower  parts  of 
the  columns  were  colored  yellow,  the  upper 
parts  were  left  of  the  white  of  their  stucco 
coating.  On  the  side  toward  the  Forum 
the  wall  of  the  peribolos  was  represented 
by  piers,  the  spaces  between  which  were 
left  open  for  passage.  At  the  north  end 
behind  the  portico  there  was  a  series  of 
chambers,  no  doubt  connected  with  the 
service  of  the  temple,  with  wall  jiaintings; 
among  these  one  representing  Bacchus 
and  yilenus  is  of  excellent  execution. 

Temple  of  the  Fohtl'xe  of  Arr.rs- 
TU.s,  dedicated,  as  is  shown  by  an  inscrip- 
tion, by  the  Duumvir  Jlarcus  Tullius. 
The  rectangular  cella  walls  are  almost 
complete,  with  a  prostyle,  tetrastyle  Co- 
rintliian  portico.  The  whole  stands  on  a 
high  basement  with  stepis  between  piers 
in  front,  which,  like  that  of  the  Temple  of 
Jupiter,  rises  from  a  platform  communi- 
cating with  the  street  by  a  small  flight  of 
steps  on  each  side.  Between  the  flights  of 
steps  stands  the  altar,  and  the  lower  plat- 
form was  no  doubt  enclosed  by  a  grating. 
At  the  back  of  the  cella,  in  an  apsidal  re- 
cess, was  an  edicule  with  two  Corinthian 
columns  for  the  statue  of  Fortune.  Two 
rectangular  niches  on  eacli  side  of  the  in- 
terior of  the  cella  were  probably  intended 
for  statues  of  the  emperor  and  his  family. 
Though  not  of  great  size,  this  temple  was 
richly  adorned. 

The  Temple  of  the  Gexii's  of 
Augustus,  on  the  east  side  of  the  Forum, 
has  been  called  Temple  of  Mercury  and 
Temple  of  Quirinus.  It  was  presumably 
founded  very  soon  after  the  cult  of  the 
emperor  was  officially  establisheil  in  7 
B.C.  On  the  side  toward  the  Forum  is  a 
wall,  originally  encrusted  with  marble, 
whose  door  opens  on  a  covered  vestibule 
with  four  columns  towai'd  the  court.      In 


»18 


ro^rPEii 


thf  middle  of  tlie  court  stands  a  richly 
sciiljitured  altar  of  marble  ;  the  front  of 
the  die  bears  a  sacrificial  scene.  At  the 
back  is  the  temple  projjer,  on  a  high  base- 
ment. The  small  cella,  whose  walls  are 
nearly  entire,  was  preceded  Ijy  a  tetrastyle 
Corinthian  portico,  to  which  steps  ascend 
from  behind,  on  each  side  of  the  walls  of 
the  cella.  The  walls  of  the  court  were 
ornamented  with  niches  and  other  archi- 
tectural adornment,  and  several  rooms,  no 
doubt  for  the  convenience  of  the  priests 
and  attendants,  were  connected  with  it. 

Temple    of    Hercules.     See    Temple 
(Greek). 

Temple  of  Isis,  identified  by  an  in- 
scription which  also  shows,  together  with 
the  character  of  the  architecture,  that  it 
was  rebuilt  after  the  earthquake  of  G3  A.n. 
The  tufa  stylobate  of  the  portico,  how- 
ever, belongs  to  the  older  building,  and 
seems  to  go  back  to  the  ii  century  B.C. 
The  temple  consists  of  a  rectangular  en- 
closure surrounded  by  a  colonnaded  gal- 
lery with  a  central  court,  in  which  stands 
the  temple  proper.  This  has  a 
cella  broader  than  long,  preceded 
by  a  tetrastyle  portico  two  inter- 
columniations  deep.  The  cen- 
tral intercolumniation  is  the 
widest,  and  from  it  descends  a 
flight  of  steps.  On  each  side  of 
the  cella  a  rectangular  niche  for 
a  votive  statue  projects  laterally 
beyond  the  anta.  and  a  similar 
niche  is  placed  against  the  back 
wall.  In  one  corner  of  the 
court  stands  a  curious  edicule 
with  a  pediment  and  an  arched 
doorway  opening  between  Co- 
rinthian pilasters.  From  the 
back  of  the  interior  a  stair  de- 
scends to  a  subterranean  cham- 
ber. This  edicule  is  called  a  Purgatori- 
um.  or  place  of  jnirification.  Its  outer  wall 
is  ornamented  with  figure-reliefs  in  stucco. 
Several  rooms  of  considerable  size  open  on 
the  enclosing  court.      {Sec  Fig.  loJf.) 


Temple  of  Jipiter.  at  the  X.  \V.  end 
of  the  Forum.  Its  tufa  masonry  assigns 
it  to  the  late  Oscan  period,  about  the  end 
of  the  II  century  r.c.  There  is  evidence 
that  it  was  injured  in  the  great  earth- 
quake G3  A.D.,  the  colored  wall-decoration 
and  thick  stucco  of  the  columns  show  sev- 
eral restorations,  one  of  which  was  in 
progress  at  the  time  of  the  final  disaster 
in  T9  A.D.  The  temple  was  hcxastyle, 
Corinthian,  on  a  high  basement,  with  a 
deep  portico  before  the  cella.  The  plat- 
form in  front  was  divided  into  two  levels. 
The  lower,  reached  by  steps  at  each  end, 
appears  to  have  formed  a  platform  for 
orators,  the  upper  had  the  usual  broad 
flight  of  steps  between  two  piers.  The  col- 
umns of  the  portico  were  about  39  ft.  high. 
The  interior  of  the  cella  was  divided  into  a 
broad  nave  and  two  very  narrow  aisles  by 
two  ranges  of  eight  Ionic  columns  between 
antffi.  These  columns  were  about  1.5  ft. 
high,  and  above  them  were  ranges  of  Co- 
rinthian columns  13  ft.  high  supporting 
the  timber  ceiling.     The  back  of  the  nave 


Fig.  154 — Pompe'i,  Temple  of  Isis. 


is  occupied  by  three  vaulted  cells  behind 
an  order  of  pilasters,  forming  together  a 
pedestal  for  the  statue  of  the  divinity,  or 
divinities  ;  for  it  is  not  unlikely  that  the 
temple  was  dedicated  to  a  triad,  like  the 


319 


POMI'KII 


Ciipitoline  temple  at  lionu'.  'i'he  ascrip- 
tion of  the  temple  to  Jupiter  rests  upon 
an  inscription  to  Jupiter  ()})timus  Maxi- 
mus  and  a  licail  of  Jupiter.  Imth  found 
in  the  cella.  Almost  the  whole  basement 
is  occupied  by  a  vaulted  chamlier,  licjhted 
by  narrow  openings  in  the  floor  of  the 
cella,  and  entered  by  a  door  in  one  side. 
'L'liis  may  have  been  a  treasury,  or  a  store- 
house for  accessories  of  the  cult.  The 
platform  measures  oS^  ft.  by  121  ft.  The 
basement  with  its  steps,  and  the  lower 
portions  of  the  columns  of  the  portico  and 
of  the  cella  walls,  remain  in  position. 

Tiie  Tkmi'i.i;  of  Jupiter,  Juxo,  axd 
MiXKUV.v  has  been  called  a  Temple  of 
Neptune.  It  is  established  within  the 
walls  of  a  former  private  house,  and  its 
construction  is  plausibly  assigned  to  the 
colony  established  by  Sulla  ;  it  would  cdu- 
sequently  date  from  after  80  B.C.  Within 
the  door  opening  on  the  street  was  a  cov- 
ered vestibule  with  two  columns  on  the  side 
toward  the  temple  court.  This  court  is 
about  18  ft.  deep,  and  in  it  stands  a  rectan- 
gular altar  of  excellent  workmanshiii,  sur- 
rounded with  a  cornice  and  a  Doric  frieze, 
and  with  graceful  volutes  at  the  angles. 
Immediately  behind  the  altar  nine  steps, 
occupying  the  entire  width  of  the  court, 
ascend  to  the  temple  platform.  The  cella 
was  jireceded  by  a  tetrastyle  portico,  two 
intercolumniations  decj5.  At  the  back  of 
the  cella  is  a  pedestal  for  the  cult-statues, 
and  here  were  found  at  the  time  of  the  ex- 
cavation, in  ITGO,  statues  of  over  life-size 
in  terra-cotta  of  Jupiter  and  .hi no,  and  a 
bust  of  Minerva.  A  Corinthian  anta- 
capit:il  is  preserved  ;  it  has  between  the 
vohites  a  beardeil  face. 

'i'KMi'LE  OK  ^IicitrriiY.     See   Templf  of 
f/tc  (leiuHH  of  Aiif/u.s/us. 

Tkmi'LE  OF  Nkptuxe.     Sci'    Tvinplc  of 
■I HjiiliT.  Jiniii.  inifl  Miner ra. 

Tkmim.i-;   iiF    Vi':\rs.      Sec    Tciiiplc    (f 
Apollo. 

Great  Tmkatiu:.  lying  oi\  the  east  side 
of   the    Forum    Triangulare.    and    facing 


south.  In  plan  it  cninliincs  elements  that 
are  jilaiiily  Greek,  such  as  the  excess  of 
the  arc  of  the  auditorium  over  a  semicir- 
cle, with  dispositions  usually  looked  upon 
as  characteristically  Roman.  It  is  shown 
by  its  masonry  and  by  an  inscription  to  be 
entirely  of  pre-Roman  date,  but  tn  have 
been  rebuilt  and  altered  in  some  minor  re- 
spects by  two  wealthy  Roman  office-holders, 
two  or  three  years  before  the  Christian 
era.  The  cavea  is  in  part  set  into  a  hill- 
side, in  part  built  up  on  vaulted  substruc- 
tions. A  broad  vault,  utilized  as  a  passage 
for  ingress  and  egress,  encircles  the  back 
of  the  auditorium  beneath  the  highest  di- 
vision of  four  seats.  A  precinction  here 
opens  on  the  passage  by  vomitoria  ojiposite 
the  six  radial  stairways  which  intersect  the 
cavea,  and  has  outside  communication. 
A  second  precinction  girdles  the  cavea  be- 
neath the  main  division  of  seats,  and  above 
the  four  wide  low  steps  next  the  orches- 
tra, whieli  served,  like  the  orchestra  it- 
self, for  the  placing  of  chairs  of  honor. 
Communication  with  the  exterior  was  pro- 
vided from  this  precinction  also,  and  from 
the  orchestra.  Above  the  highest  division 
of  seats  was  a  raised  gallery,  supported  on 
arcades  surrounding  the  exterior  wall,  for 
the  attendants  who  managed  the  vehan  or 
awning.  The  interior  of  the  cavea  was 
cased  in  marble  ;  the  section  of  the  seats 
is  a  plain  rectangle,  without  mouldings  or 
sunk  space  for  the  feet  of  the  sjjectators 
of  the  next  tier  above.  The  stage  was 
raised  only  about  3  ft.  ;  its  front  wall  has 
two  flights  of  ste})s  descending  to  the  or- 
chestra, and  three  niches  in  which  sat  offi- 
cers of  the  peace,  facing  the  audience. 
The  back  wall  of  the  stage  displays  three 
doors  which  open  in  recesses,  the  central 
one  round-headed,  and  the  others  rectan- 
gular. The  recesses  are  flanked  by  niches. 
The  floor  of  the  stage  was  of  wood.  Be- 
neath it  can  be  traced  some  arrangements 
for  handling  the  curtain,  and  others  which 
are  not  yet  fully  explained.  iJehind  was 
a   lonsr.  narrow    hall.     The  chief   dimen- 


39U 


roMl'Ell 


sion?:  ;ire  :  interior  iliuineler  of  i-avt';i,  \'M) 
ft.  ;  (list;iiu-e  from  prosot'iiiimi  wall  to 
back  of  eaven.  lis  ft.  ;  size  of  stage  UO  ft. 
by  21i  ft. 

Small  TiiEATKE,  east  of  tlie  Groat  'I'lie- 
atre.  It  i.s  of  Roman  date,  and  was  a  cov- 
ered theatre  or  odeum,  intended  for  mu- 
sical jjorforniances  and  minor  plays.  For 
convenience  of  roofing,  the  normal  theat- 
rical plan  was  modified,  and  the  entire 
huilding  included  in  rectangular  walls, 
which  cut  off  the  normal  jiointed  wings  of 
the  cavea  on  each  side.  The  triangular 
spaces  enclosed  behind  the  cavea  were  util- 
ized for  stairways.  The  cavea  presents 
only  two  parts — a  lower  one  of  four  wide 
lava  steps  for  the  chairs  of  honor,  above 
which  is  a  precinction.  and  an  upper  one 
consisting  of  five  wedge-shaped  divisions 
for  ordinary  spectators.  The  chief  en- 
trances were  hy  vaulted  side  passages  be- 
tween the  stage  and  the  cavea.  Over 
these  passages  there  were  tribunes  of  hon- 
or, which  could  be  entered  only  from  the 
stage.  The  seats  of  the  upper  part  of  the 
cavea  were  covered  with  slabs  of  tufa, 
moulded  on  the  upper  front  edge,  and 
with  a  sunken  space  at  the  back  for  the 
feet  of  those  in  the  seat  next  above.  Be- 
sides the  three  principal  doors,  the  stage 
had  two  snuill  ones  near  the  ends,  which 
were  jirobably  sejiarated  by  jjartitions  from 
the  remainder  of  the  stage.  The  liack 
wall  of  the  stage  has  no  architectural 
adornment,  but  is  painted  in  the  second 
style  of  Pompeian  mural  decoration.  The 
hall  behind  the  stage  has  four  doors  in  the 
back  and  one  at  each  end  ;  that  on  the 
west  was  preceded  by  a  porch  of  three 
columns,  and  that  on  the  east  oj^ened  on 
a  large  portico  on  the  Strada  Stabiana. 
The  chief  dimensions  are  :  interior  width 
of  cavea,  92  ft.  ;  depth  of  cavea  from 
proscenium-wall.  73  ft.  ;  size  of  stage, 
without  the  end  chambers,  59  ft.  by  16^ 
ft.  It  is  estimated  that  the  cavea  could 
accommodate  fifteen  hundred  [leople. 
Central    Tiiekm.k.    unfinished    at    the 


time  of  the  disaster  of  Til  A.i>..  and  so  of 
especial  interest  as  presenting  the  precise 
arrangements  in  favor  at  that  lime.  'I'liey 
wei'e  surrounded  on  at  least  two  sides 
with  shops  opening  outwiirdly,  and  had 
a  large  interior  court  or  pala;stra  on  the 
west  side.  This  court  was  to  be  sur- 
rounded with  porticoes  on  the  north,  west, 
and  south  sides,  and  to  have  a  large  open 
swimming-tank  on  the  east  side  against 
the  l)ath-buildings.  There  were  public 
entrances  on  the  three  colonnaded  sides. 
The  baths  consisted  of  only  a  single  series 
of  chandjers,  there  being  no  duplication 
for  separate  women's  baths.  There  was 
a  large  vestibule  before  the  apod i/frri inn 
or  dressing-room,  in  which  was  placed 
a  piscina  for  the  cold  bath.  From  one 
end  of  the  fepidiirit(m  or  warm  chamber, 
opened  a  domed  laconicum  or  hot-air  Itatli. 
The  large  caldarinm  or  hot  bath  had  a 
l^iscina  at  each  end,  and  a  basin  for  wash- 
ing in  a  niche  on  one  side.  All  the  cham- 
bers except  the  laconicum  were  lighted 
by  windows  ojjcning  on  the  court.  The 
vaults  were  ornamented  with  sonrewhat 
rough  stucco  reliefs  ;  the  decoration  of 
the  plainly  tiled  lower  walls  and  cement- 
ed floors  was  evidently  incomplete.  Tep- 
idarium,  laconicum,  and  caldarium  have 
their  floors  elevated  on  small  brick  piers, 
and  tile  pipes  in  the  walls  for  the  circu- 
lation of  heated  air.  The  disposition  of 
the  heating  furnaces  is  as  usual,  but  on 
account  of  the  size  of  the  chambers  and 
the  jjresence  of  the  laconicum,  two  inde- 
pendent and  widely  separated  furnaces 
were  introduced. 

Great  Therm.e,  discovered  in  1857, 
consisting  of  three  divisions  —  the  baths 
for  men,  the  baths  for  women,  and  a  series 
of  private  or  single  baths.  The  build- 
ings were  surrounded  on  two  sides  by 
shojis,  and  disposed  about  a  fine  central 
colonnaded  court  G9  ft.  by  108  ft.,  which 
seiTed,  iis  inscriptions  show,  as  a  jialiestra. 
The  west  side,  with  no  ijortico,  has  a  paved 
alley  extending  its  entire  length,  on  which 


POMPEII 


a  heavy  stone  ball,  still  in  its  place,  was 
rolled  for  exercise.  Behind  this  is  a  rec- 
tangular swimming-bath  flanked  by  wash- 
rooms and  a  dressing-room.  Their  walls 
are  adorned  outside  with  beautiful  reliefs 
in  stucco,  representing  fanciful  architect- 
ure diversified  with  figures,  white  on  red 
and  blue  grounil,  and  encrusted  below  with 
marble.  Seven  doorways  gave  entrance  to 
the  tliermre.  The  men's  baths,  like  those 
of  the  Small  Therma?,  include  apodytcri- 
um  or  dressing-room,  circular  domed  /"/■/// ;'- 
dariu  mora  old  bath,  tcpidarium  orwarnu'il 
hall,  and  culdarium  or  hot  bath.  B(jtli 
tepidarium  and  caldarium  have  their 
floors  raised  for  the  passage  beneath  them 
of  heated  air,  and  also  hot-air  spaces  in 
the  walls ;  these  dispositions  were  intro- 
duced as  alterations  under  the  Eomans, 
for  the  buildings  themselves  are  pre-Ro- 
man.  The  tepidarium  presents  an  ab- 
normal arrangement  in  the  presence  at  one 
end  of  a  rectangular  piscina,  heated  from 
without  by  a  special  furnace.  The  calda- 
rium, almost  an  exact  counterpart  of  that 
in  the  Small  Therma",  is  a  long  vaulted 
hall,  with  a  piscina  for  the  hot  bath  at  one 
end,  and  a  circular  basin  for  washing  in 
an  apse  at  the  other.  Light  came  in  by 
windows  and  openings  in  the  vaulting. 
The  vaults  and  the  upjier  parts  of  the  end 
walls  of  the  apodyterium  and  the  tej)!- 
darium  were  decorated  with  excellent  re- 
liefs in  stucco,  representing  ornamented 
jmuels,  fantastic  architecture,  and  figures, 
among  them  cupids  sporting  with  dol- 
phins, and  i;nd  raped  nymphs.  The  side- 
walls  of  the  apodyterium  present  a  series 
of  rectangular  niches  for  the  clothes  of 
the  bathers.  The  women's  baths  adjoin 
those  of  the  men,  from  which  they  are 
wholly  separated ;  between  them  are 
placed  the  heating  furnaces,  with  their 
battery  of  boilers.  The  women's  baths  in- 
clude a  spacious  apodyterium,  in  which  is 
a  rectangular  piscina  for  cold  bathing,  and 
a  tepidarium  and  caldarium  similarly  ar- 
ranged to  those  of  the   men's  baths,  but 


smaller  and  less  rit'hly  ornamented.  The 
private  baths,  which  are  placed  beyond 
the  northern  end  of  the  central  court, 
consist  of  a  series  of  small  rooms,  each 
with  a  piscina  or  bath-tub.  This  division 
is  practically  without  decoration. 

Small  Thekii.e,  occupying  an  entire 
block  of  buildings  north  of  the  Forum. 
A  large  jjortion  of  the  street  fronts  was 
occupied  by  shops  of  one  or  more  rooms, 
and  while  there  is  plain  evidence  of  the 
existence  of  an  upper  story,  it  is  not  clear 
for  what  this  was  utilized.  The  thcrmaj 
consisted  of  two  distinct  parts,  baths  for 
men  and  for  women,  between  which  was 
a  common  system  of  furnaces  and  boil- 
ers, serving  for  both.  The  men's  baths 
were  much  the  larger  and  more  richly  or- 
namented, and  have  three  entrances  and 
an  open  colonnaded  court  of  some  size, 
with  which  was  connected  a  waiting-room. 
The  aj)odyterium  measures  about  "23  ft.  by 
3T|  ft.  ;  it  was  vaulted  and  ])i'i)vided  with 
stone  benches  along  the  sides,  and  was 
lighted  by  square  w-indows  of  good  size  in 
the  upper  part  of  the  ends,  which  were 
closed  by  heavy  panes  of  glass  set  in  bronze 
frames  swung  on  side-i^ivots.  The  frigi- 
darium  is  circular  and  domed,  with  a 
central  piscina ;  its  walls  display  large 
semicircular  niches  and  are  painted  with 
green  plants.  Beneath  the  springing  of 
the  dome  it  is  encircled  by  a  frieze  of  stucco 
reliefs  representing  races  between  cupids, 
on  a  red  ground.  The  tepidarium  is  a 
fine  rectangular  room  with  barrel-vault ; 
the  cornice  from  which  the  vault  springs 
rests  on  a  series  of  vigorous  but  somewhat 
heavy  Atlautes  in  terra-cotta.  The  vault 
was  very  richly  adorned  with  stucco  re- 
liefs, forming  a  broad  band  of  foliage- 
scrolls  l)clow,  and  2)anels  of  dilfercnt  forms 
containing  figures  above.  In  this  room 
were  found  three  benches  of  bronze  and  a 
large  bronze  charcoal-stove.  The  calda- 
rium is  a  vaulted  hall  about  18  ft.  1)V  55 
ft.,  with  a  shallow  circular  marble  basin 
for  washing  in  an  apse  at  one  end,  and  a 


322 


PONTE 


rectaiigular  tank  I'or  bathing  at  the  other. 
The  walls  arc  ornamented  with  pilasters, 
and  the  vault,  which  is  jjierced  iu  several 
places  for  light  and  air,  with  large  verti- 
cal flutes.  The  w'alls  arc  surrounded  by 
air-spaces,  and  the  tiled  floor  is  raised 
ujoou  low  brick  piers,  the  spaces  so  formed 
communicating  with  the  adjoining  fur- 
nace. The  women's  baths  have  only  three 
apartments,  an  apodyterium,  a  tepida- 
rium,  and  a  caldarium,  with  a  small  vesti- 
bule apparently  for  waiting  attendants, 
beside  the  single  entrance  ;  there  is  no  or- 
nament of  consequence,  and  the  only 
notable  difference  in  arrangement  from 
the  men's  baths  is  the  fact  that  the  tej)i- 
darium,  as  well  as  the  caldarium.  has  its 
floor  raised  for  the  introduction  beneath 
it  of  hot  air.  This  is  due  plainly  to  a 
later  alteration.  The  arrangements  for 
the  water  and  heat  sujjjily  are  joractically 
complete,  and  are  of  much  interest. 
These  thermaj  are  about  contemporaneous 
with  the  Small  Theatre. 

Villa  of  Diomedes,  on  the  Street  of 
Tombs.  This  was  one  of  the  largest  and 
richest  of  Pompeian  abodes,  and  con- 
sisted of  several  stories,  though  these  were 
only  in  small  jjart  superposed,  but  in  large 
measure  adjoined  one  another,  being  built 
on  ground  of  ditferent  levels.  The  street 
cuts  the  front  of  the  villa  at  a  sharj)  angle, 
and  makes  the  vestibule  at  the  entrance 
triangular.  The  atrium  is  replaced  by  a 
handsome  peristyle  of  fourteen  Doric  col- 
umns of  brick,  upon  which  open  most  of 
the  rooms  usually  found  about  an  atrium. 
On  one  side  of  the  peristyle  projects  the 
finest  bedroom  surviving  in  Pompeii ;  it 
is  semicircular,  with  three  large  windows 
looking  out  on  the  former  garden,  an  al- 
cove, a  standing  washstand,  and  an  ante- 
chamber. Between  the  peristyle  and  the 
street  are  a  kitchen  and  a  complete  bath 
of  four  chambers.  At  the  back  of  this 
portion  of  the  house,  behind  the  tablinum 
and  fauces,  is  a  spacious  cecua  or  state- 
chamber  with  a  very  large  window  toward 


the  west,  disclosing  the  entire  Bay  of  Na- 
ples. At  the  back,  and  extending  under 
the  rear  gallery  and  the  cecus  of  the  story 
first  described,  is  a  range  of  soberly  but 
tastefully  adorned  rooms,  which  open  on 
the  pillared  gallery  which  surrounds  a 
garden  over  100  ft.  square.  Beneath  the 
whole  of  this  gallery  extends  a  cellar,  in 
which  were  found  many  skeletons  of  the 
inhabitants  of  the  house.  The  gallery 
had  an  ujjper  story,  which  was  connected 
with  that  which  existed  over  the  first  part 
of  the  house.  The  wall  painting  is  in  ex- 
cellent taste ;  it  includes  a  number  of 
examjjles  of  the  floating  figure  type,  on 
plain  grounds. 
PONTE  LUGANO,  near  Tivoli.  Italy. 

Tomb  of  the  Plautia  Family,  of  the 
same  character  as  that  of  Crecilia  Metella 
outside  of  Rome,  and  one  of  the  best  pre- 
served of  ancient  funeral  monuments.  It 
is  a  huge  cylindrical  tower  standing  on  a 
quadrangular  base  of  masonry ;  the  orig- 
inal domical  top  is  replaced  by  the  battle- 
ments of  a  medijeval  fortification.  The 
rectangular  entrance  portico,  with  Ionic 
semi-columns,  faces  Tivoli ;  in  it  are  two 
iuscrif)tions  of  M.  Plautius  Silvanus,  who 
was  consul  iu  3  B.C. 
PONTE  DI  NONA,  near  Rome,  Italy. 

RojiAX  Viaduct,  au  impressive  work 
which  carries  the  Via  Prrenestina  on  a 
level  over  a  deep  ravine.  It  is  very  mas- 
sively built  of  large  rectangular  blocks  of 
the  peperino  called  Itipis  gabinus,  in  hori- 
zontal courses,  and  consists  of  seven  high 
arches.  Even  the  old  pavement  remains. 
The  style  of  the  masonry  is  similar  to  that 
of  the  Tabularium  at  Rome,  and  the  date 
is  probably  the  end  of  the  ii  cent,  is.c,  or 
the  beginning  of  the  first. 
PORT  APLOTHEKA  (believed  to  be 
anc.  Loryma),  Caria,  Asia  ilinor. 

The  Walls,  at  the  S.W.  entrance  of 
the  port,  form  an  imjJortaut  example  of 
Hellenic  military  architecture.  The  space 
enclosed  is  long  and  narrow,  and  the  fine 
walls,  of  large  squared  blocks  of  limestone. 


are  standing  nearly  to  their  full  height. 
On  each  long  side  there  are  about  six 
square  towers,  and  at  each  end  a  massive 
circular  tower.  Tiiere  are  three  narrow 
gates  in  the  long  south  wall. 
rORTO  (anc.  Portus  Trajani),  Italy. 

The  remains  of  antiquity  are  of  much 
interest,  particularly  those  of  the  great 
Ports  of  Trajan  and  of  LUaudius,  tlie  lat- 
ter of  which  was  built  on  account  of  tlie 
sanding  up  of  the  jiort  at  Ostia.  The 
inner  port,  tbat  of  Trajan,  hexagonal, 
was  surrounded  witii  liuge  arcaded  maga- 
zines and  oHices,  built  of  brick,     (hi  the 


square  holes  for  trap-doors.  Excavations 
have  brought  to  light  subterranean  pas- 
sages, canals,  drains,  ami  dens  foi'  wild 
beasts  beneath  the  podium.  The  arena 
could  be  flooded  to  a  depth  of  aljout 
o  ft.  The  seats  are  in  four  ranges,  their 
computed  capacity  about  thirty-two  thou- 
sand spectators.  The  imperial  seats  were 
adorned  with  Corinthian  coUunns  of  black 
uuirble. 

MoLii,  restored  by  Antoninus  Pius,  and 
thus  anterior  to  the  ii  century  a.u.  Jt  is 
mentioned  by  Seneca  and  Suetonius,  an<l 
is  built  on  the  so-called  Greek  ^jrinci^jle  ; 


western  side  of  the  inner  port  is  the  Port  that  is,  it  consists  of  a  series  of  massive 
of  Claudius,  whose  moles  are  still  recog-  piers  of  masonry  connected  by  arches,  the 
nizable.  It  is  about  4,300  ft.  long  and  object  being  to  break  the  force  of  the 
3,200  ft.  wide.  Between  the  two  harbors  waves  while  opposing  to  them  as  little  re- 
lay an  imperial  palace,  with  a  theatre,  sistance  as  possible.  Thirteen  piers  now 
thermse,  and  a  forum.  The  ancient  gate  project  above  the  water,  and  three  can  lie 
of  the  inner  circuit  of  fortifications,  is  a  distinguished   beneath   it.     It   is  believed 


double  arch,  now  called  Arco  di  Nostra 
Donna.  There  are  remains  of  a  temple 
of  Bacchus,  of  another  temple  with  a 
vaulted  cella  still  possessing  niches  and 
relief-ornament  in  stucco,  of  a  portico  of 
Valentinian  III.,  etc. 
POSEIDONIA.  See  r<rsl,n„. 
POSILIPO.       See     I'diisUijpmii.     under 

POZZUOLI  (anc.  Puteoli),  Italy. 

The  Ampiiitiieathe  was  renewed  in 
the  time  of  Hadrian.  It  is  probable  that 
the  older  structure  stood  on  the  same  site. 
The  remains  are  in  fair  preservation, 
though  injured  by  eartli(|Uakes  and  spolia- 
tion. The  plan  is  elliptical  ;  the  greater 
axis,  483  ft.,  the  lesser,  3,S4  ft.  The  length 
of  the  arena  is  23G  ft.  The  outer  w;dl 
consists  of  three  suj)erimposed  tiers  of  ar- 
cades, the  lowest  of  large  blocks  of  mason- 
ry, the  others  of  reticulated  brickwork. 
Tlie  monument  was  surrounded  bv  an  ex- 


that  there  were  originally  twenty-five  piers 
and  twenty-four  arches,  with  a  lighthouse 
at  the  end.  The  piers  are  built  of  brick 
faced  with  stone,  all  firmly  bedded  in 
])oz7.olaiia  cement.  Xot  far  from  the 
mole,  columns  and  other  remains  of  two 
temples  are  visible  in  the  water;  these  are 
called  the  temples  <ir  Neptune  and  of  the 
Nymphs. 

Temple  of  At'GrHXfs.  built,  according 
to  an  inscription,  by  Calpurnius.  Its  re- 
mains are  now  incorporated  with  the  ca- 
thedral of  S.  Procolo,  Avhicli  occupies  its 
site.  The  chief  of  them  is  a  portico  of 
six  lofty  Corinthian  columns  with  their 
architrave  bearing  an  inscription,  at  a 
small  side  do(n'  of  the  church. 

Temple  of  Sehapis.  attributed  to  the 
reign  of  Doniitian,  but  restored  under 
Trajan.  .Mannis  .\urelius,  and  Septimius 
Si'verus.  It  was  injured  in  il!)8.  and  ]iartly 
buried  by  an  eruption  of  the  Solfatara,  and 


terior  portico.     The  main  entrances  at  the  was  excavated  in  1750.  The  temple  proper 

end  of  the  greater  axis  were  approached  by  was   circular,  with   a   peristyle  of  sixteen 

a  triple  range  of  arcaded  porticoes,  encrust-  Coriuthiaii   columns   on   a   podium   3  ft. 

ed  with  marble.     The  arena  is  paved  with  high.     The   colunins  have    been   removed 

brick,    carried   on    vaults,  and    is   full    of  from  their  pedestals   and   are  now  in  the 

334 


PR.ENESTE 


palace  of  Caserta.  and  the  Xatitmal  Mu- 
seum at  Naples.  The  temple  was  enclosed 
by  a  court,  140  ft.  by  122  ft.,  lined 
with  a  portico  of  forty-eight  columns.  Be- 
hind the  portico  were  thirty-two  cliam- 
bcrs,  above  whicli  there  was  a  second 
story.  In  the  middle  of  the  N.  E.  side 
there  is  a  projecting-  portico,  richly  dec- 
orated with  six  Corinthian  columns  of 
cipollino  -iOJ  ft.   high,  and  two   pilasters. 


the  Amphitheatre.  The  (•hief  portions 
visible  arc  the  two  tiers  of  arches  of  the 
exterior  wall  of  the  cavea,  some  vaulted 
passages  of  the  substructions  of  the  seats, 
some  of  the  entrances,  and  a  portico. 
PK.ENESTE.  See  Pales/ riiia. 
PKATO,  Italy. 

The  Cathedral,  a  Romanesque  church 
showing  signs  of  (Jothic  intluence,  partic- 
ularlv  on   the  cxtcrim',  which   is  iitlicrwise 


F,g.  155— Prato,  Cathedral. 


Three  of  these  columns  arc  still  standing. 
The  chief  entrance  in  the  S.  W.  .side, 
toward  the  sea,  had  a  central  ])assage  an<l 
two  side  passages  decorated  with  jiilasters. 
After  the  eruption  the  coast  sank,  and  at 
about  one-third  of  their  height  the  stand- 
ing columns  mark  the  extent  of  the  sink- 
ing by  their  girdle  of  borings  made  by 
marine  animals.  After  some  centuries  the 
ground  rose  again,  particularly  at  the  out- 
break of  ilonte  Nuovo  in  l.>!ti. 

Roman  Theatre.  The  remains,  which 
cover  a  large  area,  now  overgrown  with 
trees  and  vines,  lie  on  the  hillside  above 


remarkalile  among  Italian  churches  as  ex- 
jiressing  clearly  the  interior  arrangement. 
The  fa(;adehas  three  divisions,  correspond- 
ing closely  in  outline  to  the  nave  and 
aisles.  The  centre  has  a  beautiful  pointed 
arched  doorway  with  splayed  jambs,  com- 
posed with  octagonal  piers  and  slender 
round  columns  :  the  door  square-headed 
with  a  tympanum  bearing  figures  in  relief 
by  Luca  della  Robbia.  This  door  is  the 
only  opening  in  the  front.  Above  it  the 
wall  is  banded  with  white  and  dark  mar- 
ble, the  central  portion  terminating  in  the 
low  gable  of  the  nave  roof,  the  side  divi- 


PRIEXE 


sions  in  the  half  gables  of  tlie  lower  aisle 
roofs.  The  cornices  on  front  and  sides 
have  au  arched  corbel-table.  The  tran- 
sept, high  aud  square,  has  hipped  roofs. 
The  side  walls  of  the  aisles  have  blank  ar- 
cades of  high  round  arches  on  columns, 
with  small  circular  windows  in  the  heads 
of  some  of  the  arches.  The  walls  of  the 
clerestory  are  of  alternate  courses  of  white 
and  dark  green  marble,  aud  pierced  with 
five  single  pointed  windows.  A  beautiful 
square  camjianile  stands  at  the  angle  of 
the  south  transept  with  a  doorway  at  its 
base,  and  five  stories  of  groujjed  arches, 
growing  larger  and  more  decorated  as  they 
ascend,  and  terminating  in  a  fine  belfry 
with  three-light  openings  under  a  pointed 
arch.  On  the  south  angle  of  the  front  of 
the  church  is  a  picturesque  aud  beautiful 
pulpit  corbelled  out  from  the  angle  pier, 
with  a  circular  balcony  divided  into  panels 
and  sculjjtured  by  Donatello.  and  covered 
by  a  circular  canopy.  The  interior  shows 
a  nave  and  aisles  of  four  bays,  with  stilted 
round  arches  on  rather  low  black  marble 
columns  with  foliated  capitals,  and  a  clere- 
story with  single-light  pointed  windows, 
the  wall  in  stripes  of  white  and  dark  mar- 
ble. The  transept  arms  have  each  two  bays 
with  four-jjart  vaulting.  The  cast  wall 
has  five  arches  opening  into  the  choir  and 
into  four  chaj^els  square  in  plan,  decorated 
with  frescoes  by  Filippo  Lippi,  which  are 
considered  the  finest  of  his  works.  The 
round  pulpit  is  a  remarkable  work  by 
Jlino  da  Fiesole,  resting  on  sphinxes  and 
bearing  panels  filled  with  figure  sculpture 
in  relief.  The  interior  of  the  church  dates 
principally  from  the  xii  cent.,  but  a  por- 
tion, including  the  east  end,  belongs  to 
the  next  century.  The  exterior  was  com- 
pleted about  14.50.     {Sec  Fi(j.  155.) 

Madoxxa  delle  Cauceki,  an  early 
Renais.sance  church  finished  in  l-lOl,  from 
the  designs  of  Giuli.iuo  di  Sangallo.  Its 
plan  is  a  Greek  cross  measuring  84  ft.  in 
each  direction,  the  arms  covered  by  barrel- 
vaults  springing  from  the  entablature  of  a 


rich  order  of  Corinthian  jiilasters  which 
surrounds  the  whole  interior,  aiul  the  cen- 
tre by  a  hemispherical  dome  on  a  low  in- 
terior drum,  lighted  by  small  round  win- 
dows between  the  dividing  ribs  and  crowned 
with  a  small  high  lantern.  The  exterior 
is  very  simple  and  is  in  two  stages,  the 
lower  faced  with  white  and  dark  green 
marble  and  bearing  an  order  of  thin  Doric 
pilasters  without  an  entablature,  the  ui)per 
unfinished,  of  brick,  with  a  low  gable  over 
each  ai'm  of  the  cross.  The  central  dome 
is  masked  by  a  round  drum,  in  which  ap- 
pear the  round  windows  of  the  dome  under 
a  low  conical  roof  through  which  the  lan- 
tern pierces. 
PKIEXE,  Caria,  Asia  Minor. 

The  Temple  of  Athexa  Polias  (Pal- 
las, Guardian  of  the  City),  built  by  the 
architect  Pytheos  in  340  B.C.,  stood  on  a 
platform  below  the  acropolis.  The  plat- 
form was  longest  from  east  to  west,  and 
was  enclosed  by  a  wall  embellished  by  por- 
ticoes, with  handsome  entrance-propyla;a 
on  the  east.  The  temjjle  was  Ionic,  hexa- 
style.  peripteral,  with  eleven  columns  on 
the  flanks.  The  bases  of  the  columns 
were  formed  of  two  blocks  resting  on  a 
plinth  ;  the  shafts  were  fluted,  formed  of 
several  drums,  with  no  necking  ;  the  capi- 
tals had  graceful  volutes  and  cushion.  The 
architrave  was  in  three  planes  ;  the  frieze 
was  one-third  lower  than  the  architrave, 
and  plain  ;  the  cornice  had  dentils  and 
lion-heads,  and  the  cyma  was  decorated 
with  anthemia.  The  material  is  marble. 
The  propyhea  of  the  periljolos  were  of 
somewhat  later  date  than  the  temijle.  In 
])lan  they  resembled  the  propykta  of  the 
Athenian  acropolis,  and  had  on  each  face 
a  portico  of  four  Ionic  columns,  strongly 
tapering,  with  twenty-four  flutes.  Their 
bases  rested  on  square  plinths,  and  their 
height  was  about  nine  and  one-third  diam- 
eters. The  interior  had  two  ranges  of 
square  pillars  resting,  like  the  columns, 
on  plintiis  ;  the  shafts  taper,  and  the  Ionic 
anta-capitals  are  of  novel  design,  with  a 


!IS6 


PUTEOLI 


female  figure  l)etweeu  volutes  uii  tliefaee 
aiul  affronted  grittins  on  the  sides.  The 
walls  had  jjilasters  both  iuside  and  outside. 
On  each  side  of  the  main  structure  was  a 
tetrastyle  jiortico  whose  columns  also  rested 
on  square  plinths.  The  material  was  marble. 
PUTEOLI.  See  PozzuoU. 
PYDXAI,  Lycia,,  Asia  Minor. 

Lyciax  Fortress  to  the  west  of  the 
mouth  of  the  Xanthus,  in  excellent 
preservation.  It  is  a  polygon,  about  500 
ft.  in  diameter,  with  walls  of  well-jointed 
polygonal  masonry,  about  3  ft.  thick. 
There  are  eleven  rectangular  projecting 
towers,  unevenly  spaced,  with  doors  open- 
ing on  the  interior  of  the  enclosure,  and 
large  windows  and  loopholes.  The  towers 
are  of  two  stories,  the  upjier  one  commu- 
nicating with  the  top  of  the  walls.  Some 
still  rise  to  a  height  of  30  ft.  The  exist- 
ing battlements,  built  with  mortar,  on 
j)arts  of  the  wall,  are  no  doubt  later.  The 
fortress  has  but  two  entrances.  Narrow 
steep  flights  of  steps  give  access  to  the  top 
of  the  walls. 
RABBATH    AMMOX,    Palestine.      See 

Atnman. 
EAGUSA,  Dalmatia. 

DoMixiCAX  Convent,  a  xiv  cent. 
Gothic  building,  the  church  having  l)een 
opened  in  1306  and  the  convent  finished 
about  1348.  In  the  xv  cent,  a  round- 
arched  campanile  was  built.  The  church 
consists  of  a  single  large  nave  with  polyg- 
onal eastern  end  across  which,  defining 
the  choir,  is  a  triple  arch.  There  are 
also  two  side  chapels  and  a  fine  round- 
arched  south  doorway  with  an  ogee 
crocketed  hood-mould  and  jamb  -  shafts. 
Across  the  west  end  of  the  nave  is  a  Re- 
naissance triple  arcade  which  formerly 
stood  on  the  north  side  and  once  contained 
three  altars.  The  cloister  has  an  arcade 
of  large  round  arches  supported  on  piers 
and  enclosing  triple  sub  -  arches,  with 
tracery  of  quatrefoils  and  interlacing  cir- 
cles, supported  on  round  colonnettes  with 
carved  Gothic  cajjitals. 


Tlie  FKAXtJscAN  Convent  was  found- 
ed in  1317,  but  in  lUIJ?  an  earthquake 
and  fire  destroyed  much  of  the  church. 
The  interesting  features  of  the  church  are 
a  fine  doorway  of  late  Italian  Gothic,  and 
the  campanile,  which  is  tlie  uninjured  orig- 
inal, and  is  a  work  of  mixed  pointed  and 
round-arched  architecture.  The  beauti- 
ful cloister  also  remains  unharmed  from 
the  XIV  century.  Each  bay  consists  of 
six  round  arches  supported  on  coupled  oc- 
tagonal columns,  and  enclosed  by  a  great 
round  arch  with  its  tympanum  pierced  by 
a  quatrefoiled  circle.  The  capitals  are 
well  carved,  in  luxuriant  Romanesque  style, 
with  foliage,  animals,  and  grotesques. 
Three  arches  in  the  east  wall  open  into 
the  chapter-house.  On  a  pier  in  the 
court  is  preserved  the  name  of  the  archi- 
tect, Master  Mydra,  an  Albanian. 

Rector's  Palace.  A  Ragusan  munic- 
ipal building  of  the  xv  cent.,  showing  in 
its  architecture  a  mingling  of  the  Gothic 
and  Renaissance.  It  is  two  stories  high. 
In  the  first  the  centre  of  the  fa9ade  is 
occupied  by  an  arcade  of  six  round  arches 
opening  into  a  loggia,  at  each  end  of  which 
is  a  solid  wing  containing  a  ground  floor 
and  mezzanine.  In  the  arcade  the  col- 
umns belong  to  1455,  while  the  arches 
witli  Renaissance  mouldings  and  sculpture 
were  built  during  the  restoration  after  a 
fire  in  1462.  The  second  story  of  the 
front,  above  a  string  course,  has  eight 
Gothic  windo\vs  in  two  lights  divided  by 
shafts  with  tracery  above.  In  the  back 
wall  of  the  loggia  is  a  richly  sculptured 
pointed  doorway,  leading  to  a  square 
court  enclosed  by  two  stories  of  vaulted 
galleries  with  arcades,  the  ujiper  of  which 
has  two  arches  to  one  of  the  lower,  on 
coupled  columns.  The  loggia  walls  are 
jiierced  by  pointed  doors  and  windows. 
The  interior  has  been  modernized,  and  has 
little  of  interest  except  two  pictures,  one 
of  which  is  a  lunette  in  one  of  the  ante- 
rooms and  represents  theba])tism  of  Christ. 
The  Gothic  palace  was  begun  in  1435  by 


327 


KAVKLLO 


Oniifrio  (lionlani  of  L;i  Cava  to  replace 
the  older  building  destroyed  in  tiiat  year, 
but  in  14(!"i  tliis  .second  palace  was  partially 
burned,  and  rebuilt  by  -Miehelozzo  ilicliel- 
ozzi  and  (iiorgio  Orsini. 

The  .SposzA,  or  custoiH-iiou.se  and 
mint  of  Ragnsa,  ^vas  begun  in  tlie  xiv 
cent.,  and  added  to  at  different  periods 
during  the  next  two  centuries.  It  is  a 
three-storied  building  enclosing  an  oblong 
court  surrounded  by  an  arcade  and  clois- 
ters of  two  stories.  Across  the  front  is  a 
fine  .Kvi  cent.  Kenaissanee  loggia,  and  the 
second  story  is  pierced  by  windows  of  rich 
Venetian  Gothic  which  date  from  the  xv 
century.  Of  this  period  also  are  the  ar- 
cades in  the  court,  of  which  the  lower 
tier  are  round,  and  supported  on  octag- 
onal  columns   with   very   plain   capitals ; 


jiaralleled  in  Italy.  It  is  surrounded  on 
three  sides  by  two  stories  of  vaulted  ar- 
cades, the  first  of  simple  high  2">iiited 
arches  somewhat  stilted,  three  on  eacli 
side.  su]ii>nvted  on  marble  columns  with 
sim])le  leai'eil  capitals  ;  the  second  witii 
slender  coupled  columns  supjiorting  a  wild 
mass  of  interlacing  tracery,  mostly  spread 
over  the  surface  of  tlie  wall.  Above  this 
is  a  blind  arcade  of  very  small,  coupled 
twisted  columns  of  red  terra-cotta,  with 
tracery  similar  in  character  to  that  below. 
Over  this  again,  on  a  light  string-course, 
are  three  semicircular  blind  arches  on 
each  side,  each  enclosing  a  round  open- 
ing. The  various  apartments  of  the 
palace  were  richly  decorated,  with  marble 
columns  and  ornaments  in  terra-cotta. 
The    Cathedral,    dedicated    to    S8. 


at  the  ends  the  arches  of  the  second  story  Maria  and  Pautaleone,  is  an  xi  cent,  cruci- 
are  round  :  on  the  long  sides  they  are  form  church,  much  modernized,  but  re- 
pointed,  a  pair  to  each  one  in  the  arcade  taining  in  a  considerable  degree  its  ancient 
beneath,  separated  by  round  columns  with  character.     The   nave  has,   or  liad,   nine 


foliated  capitals.      The  third   story  is  of 
the  XVI  centurv. 
EAVELLO.  Italy. 

Casa  Ruffolo,  a  palatial  country- 
house  dating  from  the  second  half  of  the 
XIII  cent.,  of  irregular  })laii,  covering  an 
area  about  13(1  ft.  square,  with  various 
outbuildings.  The  entrance  to  the 
grounds  is  through  a  tower  about  2o  ft. 


round  arches  on  each  side,  somewhat  stilted 
and  divided  into  three  bays  by  oblong  jiiers 
alternating  with  pairs  of  columns,  the 
latter  of  red  marlile.  with  capitals  of 
various  character.  The  jiiers  are  faced 
with  pilasters  which  carry  the  ribs  of  the 
later  vaulting.  Under  the  transejit  is  a 
cryjit  with  seven  aisles  of  three  groined 
l)avs   each.     The   church   contains  a  fine 


square  and  G.5  ft.  high,  with  flat  walls  of     pulpit  dating  from  1272,  of  white  marble 
red  and  black  stone  pierced  by  the  great     with  mosaic  decoration,  supported  on  six 


pointed  entrance-arches,  encircled  at  the 
summit  by  a  band  of  small  interlacing 
pointed  arches  of  terra-cotta.  The  interior 
of  the  tower  is  an  interesting  examj)le  of 
the  influence  of  Saracenic  art.    It  is  ceiled 


spiral  columns  standing  on  the  backs  of 
lions,  and  approached  by  a  staircase  en- 
closed in  a  marble  fence  also  decorated 
with  a  mosaic  inlay.  Of  the  fa(;ade  only 
the  lower  portion  belongs  to  the  original 


by  a  slightly  pointed  dome  whose  crown  is  building.  This  contains  three  fine  Loin- 
40  ft.  above  the  pavement,  its  surface 
broken  ujj  by  vertical  channelling.  The 
wall  below  is  decollated  at  two  levels  with 
blind  arcades  of  high  interlacing  pointed 
arches,  springing  from  small  coupled  col- 
umns. The  most  ini))ortant  feature  of  the 
interior  of  the  palace  is  an  enclosed  court 
50  ft.   by  <)2  ft.,  whose  decoration  is  un- 


bard  doorways  ;  the  middle  one  is  closed 
by  the  finest  bronze  doors  in  South  Italy, 
'i'liey  are  divided  into  fifty-four  panels  en- 
riched with  figure-subjects  in  high  relief, 
and  bear  the  date  1179.  The  fine  tower 
attached  to  the  wall  of  the  south  transejit 
is  in  four  stages  ;  the  lowest  finishes  witli 
an   arched    corbel- (able,   the   second   and 


.328 


K'.WKXNA 


tliinl  liavo  a  facing  of  red  and  yellow  tiles, 
with  two-light  windows  under  a  bearing- 
areh  ;  the  fourth  has  a  blind  arcade  of 
interlacing  arches  iu  black  and  yellow 
terra-cotta,  ou  black  columns.  Ravello 
was  raised  to  a  bishoj)'"s  seat  in  1087,  and 
the  cathedral,  begun  a  few  years  later, 
was  consecrated  early  in  the  xii  century. 

S.  Agostixo.  a  small  Lombard  church 
of  the  XI  cent.,  with  nave  and  aisles  of 
three  bays,  the  former  dividetl  by  two 
transverse  arches  and  covered  by  a  slightly 
pointed  barrel-vault,  the  lattei-  groined  in 
square  bays.  The  three  rouiul  arches  ou 
each  side  the  nave  are  supported  on  granite 
columns  with  composite  capitals  and 
square  stilt-blocks.  The  transept,  which 
is  the  choir,  and  projects  very  slightly 
beyond  the  aisle  wall,  is  shut  off  from 
nave  and  aisles  by  a  solid  Wiill  pierced 
only  Ijy  a  doorway  in  the  axis  of  the  nave. 
An  elliptical  dome  covers  the  centre. 
The  original  fa(;ade  has  disappeared. 

Sta.  Maria  hel  Ghadili.o,  a  small 
Romanesque  church  of  Sicilian  aspect,  dat- 
ing from  the  middle  of  the  xii  cent.,  di- 
vided by  four  round  arches  on  each  side 
sjiringiug  from  square  jiiers.  The  nave 
and  aisles,  which  are  covered  by  a  single 
roof,  and  ceiled  with  wood,  abut  upon  a 
transept  which  projects  slightly  and  is 
divided  into  three  square  bays,  of  which 
the  central  one  is  covered  by  a  low'  dome 
on  a  high  round  drum,  the  two  side  bays 
being  groined.  Each  bay  has  a  flat  apse 
iu  the  east  wall,  and  the  floor  of  the  cen- 
tral bay,  which  forms  the  choir,  is  raised 
by  several  steps  above  the  uave.  At  the 
S.  W.  corner  of  the  church  is  a  small 
square  tower,  from  the  western  side  of 
which  opens  a  small  apsidal  chapel.  The 
front  has  a  single  gable  covering  the  whole 
breadth,  the  side  walls  have  a  series  of 
jiointed  discharging  arches  under  which 
are  small  single  round-headed  windows. 
The  transept  ends  show  the  intersecting 
vaults  unroofed.  Over  the  crossing  rises 
the   drum    with  its  low  dome — the  walls 


covered  with  intersecting  arches.  The 
square  tower  has  two  stories  of  two-light 
windows  under  round  bearing  -  arches, 
se23arated  by  a  frieze  of  an  inlay  of  white 
marble  on  a  black  ground  between  bands 
of  tiles  of  various  colors,  and  a  later  round 
lielfry  at  top. 
RAA'ENNA,  Italy. 

Auian  Baptistery.     See  Sfa.   Maria 
in  Conmediii. 

The  Baptistery  now  called  S.  Gio- 
vanni in  Fonte,  and  known  as  the  Ortho- 
dox Baptistery,  was  attached  to  the  old 
Cathedral,  which  has  been  rebuilt,  and 
was  presumably  contemporary  with  it.  It 
is  a  simple  octagonal  building,  about  40  ft. 
in  external  diameter,  the  walls  of  rough 
lu'ick,  quite  plain  in  the  lower  half,  with 
a  single  round-arched  window  in  each  face. 
The  upper  portion  is  divided  by  pilaster- 
strips  ending  in  au  arched  corbel-table 
into  two  panels  iu  each  face,  and  covered 
l>y  U:  low  octagonal  roof  hiding  the  dome 
within.  The  interior  is  a  single  undivided 
hall  with  two  stories  of  round  arches,  one 
to  each  face  of  the  octagon,  springing 
from  detached  .shafts  in  the  angles.  These 
columns  were  doubtless  gathered  from  old- 
er buildings,  as  they  are  of  various  sizes, 
and  fitted  with  capitals  of  various  form, 
Corinthian  in  the  lower  story,  Ionic  in  the 
upper,  all  carrying  stilt-blocks.  In  the 
lower  story  two  of  the  eight  sides  are  oc- 
cupied by  semicircular  niches,  of  which 
one  contains  au  altar.  In  the  upjier  story 
each  face  is  divided  by  columns  into  three 
sub-arches,  the  middle  one  much  the 
largest,  containing  a  broad  round-arched 
window.  The  great  arches  of  the  second 
story  cut  up  into  the  hemispherical  dome, 
which  springs  from  their  columns,  and 
which,  as  well  as  all  the  walls  above  the 
lower  columns,  is  covered  with  the  admi- 
rable aiul  well-preserved  mosaics  of  the  v 
century.  Those  of  the  dome  are  in  two 
zones,  encircling  the  central  picture  at  the 
crown  of  the  vault,  which  represents  the 
baptism    of   Jesus    in    the   Jordan.      The 


RAVENNA 


zone  next  to  the  central  lucture  is  occu- 
pied by  full-length  standing  figures  of  the 
apostles,  wearing  crowns  ;  while  the  lower 


Fig.  155  — Ravenia    Bap'.stery 

zone  and  the  wall  within  the  second  story 
arches  are  covered  with  extremely  varied 
designs,  arranged  in  panels,  with  figures, 
and  scroll-work,  and  architectural  com- 
positions. In  the  angles  over  the  lower 
columns  are  figures  of  the  jirophets  in 
Avhite  drajiery  relieved  on  a  gold  ground. 
The  centre  of  the  floor  is  occupied  by  an 
octagonal  font  about  'J  ft.  in  diameter, 
formerly  used  for  baptism  by  immersion. 
It  is  of  white  marble  with  panels  of  por- 
phyry, and  on  one  side  of  it  is  a  semi- 
circular ambo  foi-  the  ofticiating  priest. 
The  floor  of  the  building  is  now  nearly  10 
ft.  below  the  level  of  the  ground  outside. 
This  baptistery,  first  built  by  Ui'sus  at 
the  end  of  the  IV  cent.,  was  partially 
destroyed  by  war,  and  repaired  in  425-30 
under  the  emi)ress  Galla  Placidia.  It  is 
thus  the  oldest  of  all  the  existing  build- 
ings at  Kavenna.     (Set;  Fir/.  I'ld.) 

The    Cathedral    (Ecclesia   Ursiaua), 
was  the  oldest  of  the  Christian  buildings 


of  Kavenna.  having  been  built  by  X'^rsus, 
archbisho]i,  as  early  as  the  iv  century.  It 
was  a  five-aisled  basilica,  but  was  entirely 
relnult  during  the  xviii  cent, 
as  a  Renaissance  church,  with 
nave  and  single  aisles,  transept, 
ami  chdir.  with  ajiolygonal  east- 
ern apse,  and  a  circular  lantern 
over  the  crossing ;  the  latter 
having  a  high  tambour  divided 
by  })ilasters  with  pedimented 
windows  between,  ami  a  high 
dome  surmounted  by  a  cupola. 
The  ancient  round  campanile  is 
all  which  remains  of  the  old 
basilica,  and  this  has  been  par- 
tially rebuilt  by  the  addition  of 
a  belfry  with  triple  -  arched 
(ipcnings  under  bearing  arches; 
the  facade  is  altogether  unin- 
teresting. The  interior  has 
some  fine  pictures  by  Guido  and 
his  ]iupils.  and  by  other  masters 
(tf  his  school.  Portions  of  the 
marble  jtulpit  of  the  old  basil- 
fragments  of  its  ancient  doors 
111'  \ine-wood,  are  still  preserved  in  the 
modern  church  ;  and  in  the  sacristy  is 
the  ivory  chair  or  throne  of  the  bishop, 
Maximianus,  a  work  of  the  vi  cent.,  and 
one  of  the  most  exquisite  remains  of  early 
Christian  art  which  have  come  down  to 
us.  Its  front  has  five  panels  containing 
full-length  figures  of  saints,  and  sur- 
rounded by  bas-reliefs  of  foliage  and  ani- 
mals of  great  delicacy  and  beauty,  and 
executed  with  admirable  skill. 

The  Mausoleum  of  Galla  Placidia, 
now  the  church  of  SS.  Nazaro  e  Celso, 
is  a  small  monument,  but  one  of  extreme 
interest.  The  building  is  of  the  simplest 
design  and  construction.  Its  plan  is  near- 
ly a  Greek  cross,  each  wing  scarcely  more 
than  1"^  ft.  wide  inside,  the  extreme  inter- 
nal dimensions  being  about  33  ft.  wide  and 
40  ft.  long.  The  exterior  jiresents  a  low 
square  central  tower  of  rude  brickwork, 
aorainst  the  four  faces  of  which  abut  the 


and 


RAVEXNA 


four  tirins  of  tlie  cross,  with  low  walls, 
broken  by  bliud  arches  and  terminating 
each  in  a  gable  end.  The  interior  has  an 
entrance  vestibule  occupying  most  of  the 
western  arm  of  the  cross,  in  which  are  two 
sarcophagi,  which  have  been  said  to  con- 
tain the  bodies  of  the  tutors  of  Valentin- 
iau  and  Honoria,  the  children  of  the  em- 
press. The  other  three  arms  open  from 
the  central  square  by  round  arches,  and 
are  covered  by  barrel-vaults.  xVbove  the 
arches  rises  the  central  tower,  pierced  by 
a  single  sqiiare  window  on  each  side  and 
covered  by  a  low  dome  with  pendeutives  ; 
perhaps  the  earliest  authentic  instance  in 
Europe  of  a  dome  so  built  over  a  square 
base.  All  the  walls,  as  high  as  the  sjiring  of 
the  arches,  are  faced  with  slabs  of  marble.  • 
Above  this  point,  the  whole  interior  is 
covered  with  the  original  mosaics  of  the  v 
cent.,  of  which  some  are  of  great  beauty 
and  richness.  Those  of  the  walls  of  the 
tower  and  on  the  end  walls  of  the  arms  of 
the  cross  are  of  figure-subjects,  while  those 
of  the  vaults  are  for  the  most  part  in  geo- 
metrical patterns  with  gold  and  colors. 
The  eastern  recess  contains  the  large  sar- 
cophagus in  which  the  body  of  the  em- 
press was  deposited  in  a  sitting  posture. 
It  is  of  marble,  rude  in  design  and  execu- 
tion, but  was  originally  adorned  with 
plates  of  silver  and  other  ornaments,  which 
have  now  disappeared.  In  the  transept 
are  the  sarcojjhagi  of  Constantius  the 
husband,  and  Honorius  the  brother,  of 
the  empress.  These  are  said  to  be  the 
only  tombs  of  imperial  Romans  which  re- 
main in  their  original  positions.  Under 
the  dome  is  an  altar  of  alabaster,  of  sim- 
ple design,  adorned  with  early  bas-reliefs, 
supposed  to  be  of  the  vi  century.  The 
mausoleum  was  built  by  the  empress  her- 
self, between  -i'ib  and  her  death  in  4.50. 

Orthodox   Baptistery.     See  Bap/is- 
tery. 

S.  Apollinare  IX  Classe.  Of  the 
remarkable  group  of  nearly  contemporary 
ecclesiastical  buildings  at  Kavenna,  this  is 


jx'i'haps  the  in(jst  important  and  interest- 
ing, being  that  which  has  undergone  less 
change  than  any  other.  It  is  almost  ex- 
actly contemporary  with  S.  Apollinare 
Nuovo  and  vi.  Vitale,  having  been  built 
in  the  second  quarter  of  tlie  vi  cent., 
and  dedicated  in  549  by  the  bishop  Jlax- 
imianus.  It  is  a  rectangular  basilica, 
standing  on  the  site  of  the  abandoned 
port  of  Classis,  some  three  miles  south  of 
Kavenna,  and  measuring  about  'llo  ft.  in 
length  by  105  ft.  in  breadth,  with  nave, 
aisles,  tribune,  and  clerestory,  a  high  nar- 
thex  swung  across  the  front  with  no 
architectural  relation  to  the  church,  and  a 
round  campanile  standing  detached  at  the 
N.  E.  angle.  The  church  was  formerly 
approached  through  an  atrium  or  fore- 
court, but  this  has  long  since  disappeared. 
The  w^ole  exterior  is  of  rough  brickwork 
and  of  the  simplest  design,  the  front  and 
uarthex  being  singularly  bare  and  rude, 
and  the  sides  of  aisles  and  clerestory  di- 
vided by  flat  pilasters  into  round-arched 
panels  with  plain  windows.  In  the  upper 
s+ories  of  the  camj^anile  are  coupled  win- 
dows with  mullion-shafts.  The  interior 
has  a  nave  45  ft.  broad,  and  side  aisles  fi'om 
which  it  is  separated  by  twelve  columns 
on  each  side,  of  gray  veined  marble,  rest- 
ing on  square  plinths  with  panelled  faces, 
of  which  a  portion  has  probably  been 
buried  by  the  raising  of  the  pavement. 
Their  capitals,  of  modified  classic  forms 
and  Byzantine  character,  carry  low  stilt- 
blocks  marked  with  crosses,  from  which 
spring  round  arches  with  moulded  archi- 
volts  and  variously  panelled  soffits.  The 
high  wall  of  the  clerestory  now  presents 
a  bare  surface  of  plaster,  pierced  with 
plain  round-headed  windows.  The  roofs 
are  of  wood,  and  are  of  the  rudest  kind. 
The  tribune,  of  nearly  the  full  width  of 
the  nave,  and  covered  by  a  semi-dome,  is 
rouud  within  and  polygonal  without,  and 
pierced  with  windows.  The  floor  of  the 
tribune  is  raised  by  eleven  steps  above 
that  of  the  nave,  but  there  is  no  crypt. 


331 


TIAVKXNA 

thongli  there  is  beneath  the  Iribuiu'  a  iiar-  vat  ion.  and  are  perliaps.  in  design  and  exe- 

row  passage  following  the  eircular  wall  of  cution,  as  good  an  example  as  can  now  be 

the  apse,  from  Avhieh  opens  a  small  reet-  found  of  the  Hyzantine  mosaics,  though 

angular  burial  chapel  under  the  high  al-  inferior  in  richness  of  color  to  those  of 


Fig.  157. — Ravenna.  S.  Apollinare   in  Ciasse. 


tar,  in  which  were  deposited  the  remains 
of  the  saint.  The  sepi^lchral  nrn  which 
contained  them  is  still  here,  but  the  bods- 
was  said  to  have  been  removed  in  the  ix 
cent.,  to  save  it  from  apprehended  dese- 
crsition  by  the  Saracens,  and  deposited 
within  the  church  of  8.  Martino,  inside 
the  city,  of  which  the  name  was  then 
changed  to  8.  A])ollinare  Xuovo  (q.  v.). 
Hut  some  antii|uaries  maintain  that  the  re- 
mains were  taken  fi-om  the  burial  chapel 
only  to  be  deposited  beneath  the  high  altar 
in  the  tribune.  The  apse  is  flanked  by  a 
small  chajiel  on  either  side,  opening  from 
the  end  of  the  aisle  by  a  doorway,  and  ter- 
minating in  a  small  eastern  apse.  Of  the 
sumptuous  decorations  which  formerly 
adorned  this  church,  scarcely  anything  re- 
mains except  the  mosaics  of  the  vault  of 
the  tribune  aiul  of  tliewall  above  the  tril)- 
une  arch.    These  are  in  atlmirable  pre.ser- 


S.  Apollinare  Xuovo.  On  tlie  clerestory 
wall  directly  above  the  nave  arches,  on 
either  side,  runs  a  line  of  medallions  in 
fresco  containing  modern  portraits  of  the 
bishops  and  archbishops  of  Ravenna  from 
the  I  cent.,  replacing  the  original  mosaics 
which  were  carried  otf  in  the  xv  cent, 
by  Sigismund  ilalatesta.  At  the  east  end  of 
the  north  aisle  is  an  altar  of  stone,  covered 
by  a  curious  bahhicchino  erected  in  the  ix 
cent,  to  S.  Eleucadio.  It  has  four  col- 
umns with  twisted  shafts,  without  bases 
but  resting  on  rude  square  plinths,  and 
with  curiously  carved  capitals.  These  are 
joined  by  four  segmental  arches,  with  bor- 
ders of  a  broad  interlaced  Byzantine  de- 
sign, and  spandrels  decorated  w'ith  a  vine 
jiattern.  The  sculpture  is  repeated  on 
the  inner  faces  of  the  arches.  {See  FUf. 
iru.) 

S.    .\i'()LLiNAi:i;    Xrovo,    one    of    the 


EAVENJSTA 


two  |)rinrip:il  lia.<ilii"is  nf  IJavcima.  buili 
at  the  Ix'giiiiiiiig  of  tlie  vi  cunt,  by  Tlieo- 
(loric  as  the  Ariaii  Cathedral.  It  wa.s  a 
I'lilly  cleveloped  basiliea,  with  atrium  and 
iiarthox,  of  wliich  tlie  former  has  di.saji- 
])eared  and  tlie  latter  has  been  replaced 
or  rebuilt.  'I'he  exterior,  like  that  of 
most  of  the  monuments  of  Kavenna,  is 
simple  and  even  rude,  of  rough  brick- 
work, with  little  or  no  attemjjt  at  orna- 
ment. The  fai/ade  shows  above  the  luod- 
ern  narthex  three  divisions  corresponding 
to  the  nave  and  aisles,  of  which  the  cen- 
tre division  has  a  modern  two-light  win- 
dow and  a  low  gable.  The  narthex  is  a 
graceful  composition  of  five  round  arches 
on  Ionic  columns,  the  three  central  arches 
corresiionding  to  the  breadth  of 
the  nave  and  divided  from  the 
end  arches  l.iy  pilasters.  At  the 
south  angle  of  the  front  stands  a 
tall  round  campanile,  with  many 
small  round-arched  windows,  sin- 
gle and  grouped,  of  which  oidy 
the  lower  portion  is  of  eqnal  age 
with  the  church.  The  interior 
has  a  In'oad  nave,  sep.irated  from 
the  aisles  on  either  side  by  twelve 
columns  of  gray  marble,  l)roughi 
from  Constantinople.  They  have 
acanthus  capitals  of  varying  size 
and  design,  probably  taken  from 
older  Roman  buildings,  and  arc 
surmounted  by  clumsy  stilt- 
blocks,  carrying  round  arches 
with  moulded  archivolts  and  pan- 
elled sortits.  Between  these  arch- 
es and  the  high  clerestory,  which 
is  pierced  by  broad  round-arched 
windows,  is  a  broad  frieze  filled 
with  a  magnificent  series  of  mo- 
saics dating  from  the  latter  half 
of  the  VI  cent.,  and  of  a  great 
variety  of  subjects — processions  of  saints 
bearing  crowns  and  receiving  the  benedic- 
tion of  the  Saviour  seated  on  a  throne — 
processions  of  virgins  with  crowns,  headed 
by  the  three  Magi  presenting  their  otferings 


111  the  \'irgin  ]\Iary  and  the  Child — repre- 
sentations of  the  city  of  Havenna  with  the 
church  of  S.  Vitale,  and  the  j)ort  of 
Classis  with  ships  on  the  sea,  etc.  The 
wall  of  the  clerestory  also  is  covered  with 
mosaics — single  figures  of  jjrophets  be- 
tween the  windows,  and  jiictorial  subjects 
on  a  smaller  scale  aljovi'.  U'lu^  nave  is 
eovci'cil  by  a  flat  panelled  wooden  ceiling. 
The  eastern  apse,  rebuilt  in  the  ix  cent, 
on  the  old  foundations,  is  preceded  by 
a  rectangular  compartment  covered  by 
a  groined  vault.  This  ]iortion  of  the 
church  has  been  wholly  moiU'rnized  in  the 
worst  style  of  the  Iicnaissancc.  An  early 
marljlc  pulpit  with  bas-reliefs  stands  be- 
tween  two  of  the  columns  on   the  south 


Fig,  158.  — Ravenna,  S  Apollinare   Nuovo, 

side  of  the  nave.  This  ehnrch  was  origi- 
nally called  S.  Martino  in  Coelo  Aureo.  hixt 
when  the  body  of  St.  Apollinaris  was 
supposed,  rightly  or  wrongly,  to  have 
been  transferred  hithei-  from  liis  church 


U33 


RAVENNA 


at  Classis  to  preserve  it  from  clesecnitiiui 
b)'  the  ajjproachiiig  enemy,  it  received  its 
present  name.     (See  Fig.  -/-W.) 

S.  Fbaxcesco.  One  of  tlie  earliest  of 
the  many  Ijasilicas  of  Kaveuna,  dating 
from  the  lirst  ([uarter  of  tlie  v  cent.,  but 
much  changed  by  modern  restorations. 
Its  ancient  square  campanile  still  stands  at 
the  angle  of  the  front,  and  its  two  ranges 
of  marble  columns,  eleven  on  either  side 
the  nave,  are  unchanged.  They  are  evi- 
dently from  some  more  ancient  classic 
building  and  their  capitals  bear  stilt- 
blocks,  which  are  said  to  have  been  tlie 
earliest  examples  of  that  characteristic 
feature.  The  ceiling  is  modern.  Many 
interesting  tombs  and  other  relies  of  the 
age  when  the  church  was  built  are  still  to 
be  seen  within  it,  among  them  a  sepulchral 
urn  containing  the  ashes  of  S.  Liberius, 
archbishop  of  Ravenna,  and  decorated 
with  bas-reliefs ;  under  the  choir  are  re- 
mains of  the  crypt,  or  of  the  luwcr  part  of 
the  original  church. 

S.  Giovanni  Evangelista.  One  of  the 
less  important  of  the  remarkable  group  of 
basilicas,  which  were  built  in  Ravenna 
during  the  v  and  vi  centuries.  It  has 
been  much  changed  by  restorations,  but 
still  retains  its  twenty-four  marble  col- 
umns with  Corinthian  capitals  and  stilt- 
blocks,  its  eastern  apse,  jrolygonal  with- 
out and  circular  within,  and  its  square 
campanile.  The  front  has  a  pointed  door- 
way belonging  probably  to  tiie  xiii  cent., 
richly  decorated  with  sculptures.  The 
mosaics  of  the  interior  have  disappeared, 
with  the  exception  of  some  fragments  of  a 
pavement  in  one  of  the  chapels.  The  ceil- 
ings and  vaults  have  at  various  periods 
been  adorned  with  frescoes,  of  which  those 
in  a  chapel  have  been  affirmed  to  be  the 
work  of  Giotto.  The  ancient  altar,  richly 
decorated  witli  marble  and  porphyry,  is 
still  preserved  in  tlie  crypt.  The  church 
is  said  to  have  been  founded  in  the  early 
part  of  the  v  cent.,  by  the  empress  (!alla 
Placidia,  in  fulfilment  of  a  vow  made  dur- 


ing danger  of  shipwreck,  while  on  a 
voyage  from  Constantinople  to  Raveniui. 
It  is  supposed  that  an  atrium  occupied 
originally  the  site  of  the  little  square  in 
front  of  the  church. 

S.   (ilOVANNI    IN    FONTE.       Sce   Buptis- 

IcVlj. 

S.  Spirito,  called  also  S.  Teodoro,  is 
perhaps  the  oldest  church  in  Ravenna.  It 
is  a  three- aisled  basilica,  its  somewhat 
stilted  arcades  carried  on  fourteen  eai'ly 
columns  with  stilt-blocks,  and  the  apse 
Ijuilt  in  between  two  square  chapels.  On 
the  outside  of  the  south  aisle- wall  are 
traces  of  an  open  colonnade,  perhajis  add- 
ed, perhajis  incorporated.  It  was  adopted 
by  Theodoric  at  the  end  of  the  v  cent., 
from  a  very  early  church  built  by  Agapi- 
tus  in  20G — some  think  it  was  lirst  ijuiit 
by  Theodoric — as  the  first  Arian  church 
in  Ravenna.  Near  by  is  Sta.  ]\Iaria  in 
Cosmedin  (//.  v.),  the  so-called  Arian  Bap- 
tistery. 

S.  Teodoko.     See  aS'.  Spirito. 

S.  ViTALE,  one  of  the  most  interesting 
ami  characteristic  of  Byzantine  churches. 
Its  external  walls,  entirely  of  brick-work 
laid  with  joints  as  thick  as  the  bricks,  are 
quite  bare.  Its  disposition  is  that  of  a 
central  octagon  about  50  ft.  in  diameter, 
covered  by  a  dome  not  visible  externally, 
and  surrounded  by  two  stories  of  exterior 
aisles  or  galleries.  The  angles  of  the  octag- 
onal galleries  are  masked  by  projecting 
buttresses,  which  are  connected  witli  tlie 
piers  of  the  central  octagon  by  round 
arches  in  each  gallery.  The  exterior  faces 
of  the  gallery  walls  are  broken  by  flat  pi- 
laster-strips and  simple  brick  cornices. 
The  wall  of  tlie  central  octagon  above  the 
roof  of  the  gallery  is  pierced  by  a  window 
over  each  face  of  the  octagon,  and  covered 
by  a  low-pitched  roof  hiding  the  dome  with- 
in, whicli  is  of  remarkable  construction, 
being  built  wholly  of  hollow  earthern  pots, 
laid  spirally  in  cement,  a  light  construc- 
tion common  in  the  East  from  early  times. 
A  small  nartliex  or  entrance  porch,  de- 


3.S4 


RAVENNA 


Fig.  159.— Ravenna,  S.  Vitale. 

stroyed  in  tlie  earthquake  of  IfiSS,  for- 
merly occupied  the  western  face  of  the 
octagon,  and  the  apse  of  the  choir  pro- 
jects from  the  eastern  face.  The  narthex 
was  flanked  by  two  circiihir  towers — one  of 
whicli  still  remains — not  rising  above  the 
roof  of  the  upper  gallery,  to  which  a  spiral 
stair  in  each  tower  gave  access.  Two 
similar  towers,  but  lower,  stand  at  the  sides 
of  the  eastern  apse.  The  original  narthex 
was  replaced  by  a  longer  one  following  the 
street  line  obliqixely  to  the  church,  and 
touching  it  only  at  one  of  tlie  angles  of 
the  aisle.  The  interior  plan  is  somewhat 
complicated.  {See  Fig.  160.)  The  central 
dome  is  carried  on  eight  massive  piers  of 
peculiar  form,  which  are  joined  by  round 
arches.  The  intervals  between  the  piers 
are  occupied,  on  seven  of  the  eight  sides,  by 
semicircular  niches  in  two  stories,  project- 
ing into  the  surrounding  aisles  and  borne 
on  three  round  arches  sjiringing  from  col- 
umns. The  surrounding  aisle  is  divided 
into  bays  by  round  cross  arches  which  con- 


nod  t'uch  of  the  great  ])iers 
with  the  external  wall,  and  cov- 
ered by  four-part  vaulting  of 
singular  form,  each  of  the  eight 
bays  being  divided  into  three 
vaults.  The  same  arrangement 
is  repeated  in  the  gallery  of  the 
second  story.  From  the  east- 
ernmost side  of  the  central 
octagon  opens  tlie  tribune  or 
choir,  consisting  of  an  oblong 
groin-vaulted  bay,  opening  on 
either  side  by  three  arches  into 
the  surrounding  aisle,  and  ter- 
minating in  a  semicircular  apse 
covered  by  a  semi-dome.  This 
remarkable  interior  has  been 
much  disguised  by  modern 
painting,  but  its  decoration, 
except  where  in  recent  times 
it  has  been  subjected  to  recon- 
struction, is  in  the  highest  de- 
gree characteristic  of  Byzantine 
architecture.  The  walls  and 
vault  were  everywhere  covered  with  mo- 
saics of  great  richness  and  beauty.  Of 
these  only  a  small  jjart  remains.  Those 
of  the  choir  and  tribune  are,  however, 
still  in  admirable  preservation.     They  rep>- 


Fig.  160.— Ravenna,  S.  Vitale. 
Scale  of  50  feet. 


335 


i;.\\  KXNA 


rest'iil  the  .Suviour  crouiit'il,  with  angels 
aiul  archangels,  the  apostles  and  saints, 
the  emperor  Justinian  and  the  empress 
Theodora,  and  various  scriptural  subjects. 
The  columns  of  the  choir  are  of  verd-an- 


l)erhaj)s  original  ;  but  the  apse  has  been  re- 
built, the  clerestory  windows  changed,  and 
chapels  added.  The  outside,  with  a  ga])led 
front,  retains  a  good  deal  of  its  old  aspect. 
Sta.  Maria  in  C'osmkdix.     An  earlv 


tique  and  Egyptian  marbles,  the  walls  and  octagonal  building  of  rude  brickwork  be- 
the  great  piers  aiul  the  soffits  of  the  arches 
were  faced  with  marljle  slabs,  and  on  the 
former  are  traces  of  a  frieze.  The  mosaics 
of  the  dome  have  been  replaced  by  a 
coarse  decoration  in  fresco  of  the  xviii 
century.  The  columns,  particularly  those 
of  the  first  story  niches,  are  extremely 
noteworthy.  They  are  about  twenty-two 
inches  in  dianirtcr.  with  no  regular  base, 
but  resting  on  an  cxijanding  series  of  thin 
disks  of  stone,  'i'hc  characteristic  capital 
is  trapezoidal,  and  covered  with  a  tine 
interlaced  basket-work,  and  with  panels 
filled  with  conventionalized  foliage,  and 
siii-inoiiiiti'd  by  a  high  stilt-block.  The 
uiipcr  iMiluMins  ai'e  modifications  of  clas- 
sic- forms.  They  also  are  surmounted  by 
s([uare  stilt-blocks  with  their  sides  carved 
with  .slightly  indicated  leafage.  'J'he  By- 
zantine style  was  introduced  into  Ravi'nna 
through  the  intimate  connection  main- 
taineil  by  the  bishops  with  the  court  ot' 
( 'onstantinoj>le.  This  connection  was  clo.se 
toward  the  end  of  the  reign  of  Tlieodoric. 
and  it  was  in  the  year  of  his  ih'atli.  'rH'i. 
that  the  church  of  S.  Yitale  was  Ix'gtni. 
It  was  thus  almost  exactly  contemporai'y 
with  Sta.  Sofia  at  Constantinople.  The 
chui'ch  was  built  without  interruption, 
and   \\as  consecrated  bv  Maximianus,  the 


I  inging  to  the  same  period  with  the  many 
others  erected  under  the  (iothic  Tlie- 
odoric. This  was  the  Arian  Baptistery, 
but  became  a  Koman  church  in  the  vi 
cent.,  when  a  rectangular  nave  was  added 
to  the  original  octagon.  It  is  a  small 
building  about  24:  ft.  in  diameter,  with 
shafts  in  the  interior  angles  with  L'orin- 
thian  capitals,  carrying  no  stilt  -  blocks, 
and  a  round  arch  in  each  face  of  the  octa- 
gon. Aliove  these  arches  is  a  second 
range,  also  on  Corinthian  colunnis.  and 
above  these  the  octagonal  dome,  covered 
with  mosaics  which  date  from  the  period 
of  the  conversion  of  the  Iniilding  to  the 
uses  of  the  liomau  church  in  the  vi  cent, 
by  Archbishop  Agnello,  who  converted  the 
baptistery  into  an  orthodox  church  by 
adding  to  it  a  nave  of  equal  breadth. 
The  walls  wrvv  i|iiiic  pl;iin.  but  have  been 
dccoratetl  with  frescoes  of  late  date.  A 
large  circular  granite  plinth  in  the  centre 
of  the  j)avement  is  supposed  to  have  been 
the  foundation  of  the  font,  which  has 
now  disappeared. 

Sr.\.    Mai;ia     hki.i.a     Kotdnka.     See 

'riii'iiiliinr's    'I'liiilli. 

TiiEODoKic's  Palaci:,  so-called.  All 
that  remains  of  this  building,  which  was  of 
great  extent  and  magnificence,  is  ai^ortion 


of  two-storied  brick  wall  about  0(»  ft.  long. 


successor  of  Ecclesius,  in  .5-1:7,  two  years 

before  the  consecration  of  S.  Apollinarc  in     which  now  makes  the  front  of  the  Fran- 

Olasse.     {Sec  Fi[gs.  159,  160.)  ciscan  convent  attached  to  the  adjoining 

SS.  Xazzaku    k   Cf.t.so.     See    Mansn 


hum  (if  (lalhi  Phiiiili((. 
SrA.  A(;ata.  An  open-roofed  basilica 
with  a  deep  apse  and  without  transept. 
Twenty  irregular  antique  columns  carry 
the  arcades  of  the  nave  on  stilt-blocks 
which  are  marked  with  a  cross.  The 
crypt  remains,  and  the  inner  vestibule, 
o]H'ning  into  the  nave  l>y  a  simple  arch,  is 


church  of  S.  Apollinare  Xuovo.  A  cen- 
tral division  contains  a  round-arched  door- 
way with  voussoirs  of  red  and  white  mar- 
ble, with  square  jamb  pilasters  and 
Byzantine  capitals,  without  projection. 
Above  the  doorway  is  a  broail  and  deep 
semicircular  recess  with  angle  shafts,  cov- 
ered bv  a  semi-dome.  On  each  side  are 
c()U[)lcd    ai'ches   at    the  ground   level,  now 


3.3U 


MURANOS.   DONA  TO 


A.^rNUS 


walled  np,  and  high  above,  a  group  of 
four  blauk  stilted  round  arches,  carried 
on  columns  with  stilt-hlocks,  corbellod  out 
on  a  jn'ojecting  sill.  A  simple 
horizontal  cornice,  probably  mod- 
ern, finishes  the  front.  Against 
the  wall,  in  the  right-hand  divi- 
sion, is  set  what  was  believed  to 
be  the  sarcophagus  of  Theotloric, 
but  which  is  with  more  reason 
now  presumed  to  liave  been  a 
bath.  'J'his  fragment  of  wall  is 
j)robably  a  j)ortiou  of  a  wing  of 
the  building,  the  exact  location 
of  which  is  not  known.  The 
columns,  mosaics,  and  other  dec- 
orations were  carried  olf  Ijy  Char- 
lemagne, with  the  consent  of 
Pope  Adrian  I.,  to  adorn  his  vari- 
ous buildings  at  Paris,  Ingel- 
heim,  and  Aachen. 

Theodoric's  Tomb,  called  aliio  Sta.  Ma- 
ria della  Kotonda,  one  of  the  most  re- 
markable of  the  early  monuments  of  Ra- 
venna, standing  about  half  a  mile  without 
the  walls  of  the  city.  It  is  a  circular 
building  of  stone,  some  34  ft.  in  diameter 
internally,  standing  on  a  high  decagonal 
basement,  on  which  stood  originally  an  ar- 
cade supported  on  columns,  surrounding 
the  circular  building,  and  approached  by 
two  exterior  staircases  carried  on  broad 
flat  arches  resembling  flying  buttresses, 
which  staircases  are  probably  modern. 
Each  face  of  the  basement  wall  is  pierced 
with  a  round-arched  niche,  square  in  plan, 
the  voussoirs  of  the  arches  curiously  jog- 
gled. The  wall  of  the  upper  building  is 
plain,  pierced  with  small  windows,  per- 
haps of  later  date,  above  the  roof  of  the 
missing  arcade.  It  is  crowned  by  a  heavy 
decorated  cornice  of  very  jieculiar  design, 
and  above  this  is  a  flat  elliptical  dome 
formed  of  a  single  block  of  Istriau  lime- 
stone, around  the  edge  of  which  are  ten 
projections  of  uncertain  character,  which, 
it  is  conjectured,  served  as  handles  for  the 
convenience   of   raising   and    setting   this 


j)onderous  stone,  whose  weight  has  been 
estimated  at  above  four  hundred  tons. 
The  interior  is  divided  into  two  stories,  of 


Fie.  161, — Ravenna,  Theodoric's  Tomb, 

which  the  lower  is  crucifdrm  in  plan  ;  its 
floor  is  some  feet  below  the  present  level 
of  the  ground.  The  upper  story,  entered 
only  by  a  square  doorway  from  the  exte- 
rior terrace,  is  circular,  without  architect- 
ural or  other  decoration,  and  roofed  by 
the  low  dome.  Ojtposite  the  door  of  en- 
trance is  a  square  niche,  perhaps  of  later 
date  than  the  building.  The  tomb  was 
built,  according  to  some  authorities,  by 
Theodoric  himself  ;  according  to  others,  by 
his  daughter  Amalasuntha.  In  either 
case,  it  belongs  to  the  first  third  of  the  vi 
century.  {See  Fig.  161.) 
RKAMNLTS,  Attica,  Greece. 

Temple  of  Nemesis,  on  a  terrace  above 
the  town  and  the  sea.  It  w'as  a  Doric 
peripteros,  75  ft.  by  37  ft.,  with  twelve 
columns  on  the  flanks,  and  six  on  the 
fronts.  Eight  columns  are  still  standing. 
The  cella  had  a  pronaos  and  an  opistho- 
domos.  The  statue  of  the  goddess,  attrib- 
uted to  Phidias,  was  carved,  according  to 
tradition,  from  a  block  of  Parian  marble 
which  had  been  brought  by  the  Persians 
to  set  up  as  a  trophy  for  their  expected 
victorv  in  Attica. 


337 


RIETI 


Smaller  Temple,  upon  the  same  ter- 
race with  the  Temjile  of  Nemesis.  It 
consisted  of  a  cella  with  two  Doric  col- 
umns of  Poros  stone,  in  (infix,  ami  meas- 
ured 35  ft.  by  21  ft.  Nothing  remains 
but  shattered  foundations.  This  was 
l)robably  the  old  temple  of  Nemesis  ruined 
1)V  the  Persians. 
lilETI,  Italy. 

The  Cistercian-  Monastery  of  8. 
Pastore,  near  Rieti,  was  colonized  from  that 
of  Casanova  in  about  I'ilS.  and  its  construc- 
tion dates  from  about  the  middle  of  the 
xiii  century.  An  inscription  in  the 
cloister  gives  the  year  of  its  foundation  as 
l"^o5,  and  its  architect  as  Ansclm.  The 
cluirch,  built  of  stone,  is  cruciform  in  plan, 
witli  a  square  apse,  four  square  side  chap- 
els, and  six  bays  to  the  nave — the  usual 
Cistercian  plan.  Its  exterior  is  entirely 
ruined  and  modernized.  The  interior  is 
a  fine  specimen  of  pure  Cistercian  Ko- 
manesque.  Its  length  is  nearly  125  ft.,  its 
width  00  ft.,  and  at  the  transept  S3  ft. 
The  nave  measures  2G  ft.  and  the  aisles  13 
ft.  in  width.  The  high  round  arches  of 
the  nave  rest  on  simple  cruciform  piers, 
from  whose  projecting  faces  spring  pi- 
laster-strips along  the  wall  of  the  nave  and 
aisles,  and  sub-arclies.  The  main  vaults 
of  the  transept  and  apse  are  great  jiointed 
tunnel-vaults  that  rise  to  a  height  of  be- 
tween 45  ft.  and  50  ft.  The  low  side- 
chapels  have  cross-vaults.  The  vaults  of 
the  transept  are  21  ft.  wide,  that  of  the 
apse  27  ft.  The  nave  and  aisles  are  at 
present  covered  by  wooden  roofs,  but  it  is 
probable  that  they  also  originally  had 
tunnel-vaults.  The  effect  of  the  whole 
interior  is  one  of  extreme  loftiness,  ex- 
ceeding that  of  any  other  Cistercian 
church  in  Italy.  The  vaults  show  the 
hand  of  French  architects  or  their 
scholars. 

The  Monastic  Buildings  still  remain  in 
part.  The  chapter-house  is  a  fine  hall 
whose  vaults  have  mouldings  like  those  of 
the  episcopal  palace  at  Rieti  :  there  also 


remain  two  tunnel-vaulted  halls  and  part 
of  the  refectory  of  the  xiii  century.  The 
present  cloister  is  of  brick,  and  was  built 
in  tlie  XV  cent,  by  Al)bot  Silvester,  whose 
inscription,  dated  in  I-ITU,  shows  that  he 
built  and  restored  much  in  the  monastery. 
A  bell  in  the  tower  which  rises  over  the 
ai)se  has  the  date  1202.  The  architecture 
of  this  monaster}'  is  similar  to  that  of  its 
mother  monastery  Casanova,  and  its  sister 
monastery  S.  Silvestro  d'Acre  ;  all  being 
based  ujion  the  tunnel-vaulted  style  first 
exemi)lified  in  Italy  in  the  Cistercian 
monastery  of  SS.  Yineenzo  cd  Anastasio, 
outside  Rome.  [A.  Ij.  F.,  Jr.] 
RDIIXI  (anc.  Ariminum),  Italy. 

AMiMirniEATKE,  built  probably  in  tlie 
III  cent.  A.D.,  and  restored  in  the  vi. 
The  iilan  is  elliptical,  the  greater  exterior 
diameter  393  ft.,  the  lesser  diameter  298 
ft.;  the  axes  of  the  arena  250  ft.  and  155 
ft.  The  whole  building  was  of  brick  ex- 
cepting the  seats,  which  were  of  marble. 
The  arena  was  surrounded  by  four  con- 
centric walls,  the  outer  one  of  which  was 
pierced  with  sixty  arches. 

Roman  Bridge  of  five  arches  over 
the  river  Marecchia  (ancient  Ariminus), 
at  the  junction  of  the  Flaminian  and 
/Emilian  AVays.  The  bridge,  begun  by 
Augustus  and  finished  by  Tiberius,  is  of 
white  travertine  in  very  large  blocks,  and 
of  admirable  construction.  It  is  oriui- 
mented  with  Doric  details,  the  keystones 
carved  with  vases  and  civic  crowns,  and 
the  interior  of  the  parapet  still  bears  the 
inscription  commemorating  the  construc- 
tion. The  length  of  tlie  bridge  is  236  ft., 
its  Avidth  about  15  ft.,  and  the  span  of  the 
central  arch,  which  is  the  widest,  3-li  ft. 
One  arch  was  broken  down  by  the  Goths 
in  552,  but  was  well  restored  in  IGSO. 

S.  Fraxcesco,  the  present  cathedral, 
originally  a  Gothic  church  of  the  xiv 
cent.,  with  a  nave  aboiit  30  ft.  wide  and 
115  ft.  long,  flanked  by  three  rectangular 
chapels  on  each  side,  opening  from  the 
nave    by   high   pointed   arches   in   a   flat 


338 


RIVA 


wall.  Tlu'  c-lioir  is  a  single  oblong  baj- 
witii  a  great  round  apse.  In  1450  the 
church  was  tran-sfornied,  for  the  lavish  and 
tyrannical  Sigismimd  Malatesta,  by  Leon 
Battista  Alberti,  whose  masterpiece  it  is 
next  to  iS.  Andrea  at  Mantua.  Alberti 
couverted  it  into  a  sort  of  Ileroon  for  the 
Malatesta  family,  and  an  embodiment  of 
the  asjjiratious  of  the  Renaissance.  It  is 
called  the  Tempio  ]\Ialatestiano,  and  is 
profusely  decorated  with  classic  ornaments 
and  emblems,  mythological  sculjitures,  the 
elephants  and  other  cognizances  of  the 
Malatesta,  and  the  initials  of  Sigismuud, 
and  of  his  mistress  and  tardy  wife  Isotta, 
the  only  symbol  of  Christian  worship  left 
to  it  being  its  older  name,  S.  Francesco. 
Alberti's  facade  is  a  sort  of  triumphal 
arch  with  three  arches,  the  middle  one, 
larger  than  the  rest,  containing  the  door, 
in  the  intervals  of  an  engaged  Corinthian 
order,  above  which  the  upper 
part,  unfinished,  suggests  a  sin- 
gle gable  broken  by  a  raised  cen- 
tre with  an  order  of  pilasters. 
A  dome  was  to  have  crowned  the 
church,  but  was  never  built. 
The  sides  are  faced  with  a  series 
of  great  arched  niches,  contain- 
ing sarcophagi  of  the  Malatesta 
and  their  friends.  Within,  the 
great  pointed  arches  remain,  and 
the  walls  are  covered  with  a  pro- 
fusion of  pilasters,  large  and 
small,  singularly  arranged,  with 
panels  and  reliefs  and  carved  or- 
nament. A  simjile  open  -  tim- 
bered roof  takes  the  place  of  the 
intende-d  wooden  vault.  The 
rich  marbles  with  which  the  church  is  pro- 
fusely ornamented  are  in  great  part  the 
spoils  of  older  buildings.  (See  Fig.  162.) 
Tkiumi'Hal  Arch,  now  called  Porta 
Romaua,  and  spanning  a  street  of  the  city. 
It  was  erected  in  honor  of  Augustus,  in 
conmiemoration  of  the  building  of  the 
Flaminian  Way.  It  is  a  massive  and  well- 
built  structure  of  white  travertine,  pierced 


by  a  single  arch  of  29^  ft.  span  and  27  ft. 
high  ;  a  Corinthian  fluted  column  on 
each  side  sujjports  an  entablature,  above 
which  is  a  low  pediment,  and  remains  of 
mediajval  battlements  crown  the  whole. 
The  spandrels  are  decorated  with  medal- 
lions, on  one  side  of  Jupiter  and  of  Venixs, 
and  on  the  other  of  Neptune  and  of  Mars. 
The  total  height  is  40  ft. 
RIVA,  Italy. 

Sta.  Ckuce.  a  small  and  singular  Re- 
naissance church  belonging  to  the  first 
half  of  the  xvi  cent.,  of  which  the  design 
is  attributed  to  Cristoforo  Solari.  It  is 
an  octagon  about  40  ft.  in  diameter  in- 
ternally, surrounded  by  a  Roman  Doric 
arcade,  of  whose  four  cardinal  arches 
one  encloses  the  entrance  door  and  the 
others  open  into  square  chajiels.  The 
four  intermediate  arches  open  into  trian- 
gular niches  which  fill  out  the  plan  to  a 


r  '  ;  — Rimtni.  S,  Francesco 

square.   Above  the  arcade  is  the  windowed 
drum  of  a  high  octagonal  dome,  decorated 
with   frescoes   and    covered    with   a   low 
pyramidal  roof  and  a  small  lantern. 
LA   ROCCELLETTA  (Del  Vescovo  Di 

Squillace).  near  Catauzaro  and  Squil- 

lace,  Italy. 
The   Basilica,    which  dates   apimrently 
from  the  iv  or  v  cent.,  is  the  most  inter- 


339 


ROME 


esting  and  perhiqis  the  oldest  of  the  very 
ciirly  cluirclies  in  tlic  old  kingdom  of  Na- 
ples. It  i-s  of  the  Latin  type,  about  150 
ft.  long,  with  uuve  and  aisles,  broad  tran- 
sept, and  three  eastern  apses.  The  nave 
columns  and  tlie  roof  are  gone  ;  otherwise 
the  church  is  well  preserved.  Under  the 
choir  and  apse  is  a  large  crypt.  The 
masonry  appears  to  be  Roman,  of  the 
period  immediately  after  Constantiue  ;  the 
walls  are  of  stone,  banded  with  large 
bricks,  and  the  windows  arched  in  brick. 
This  jiart  of  Italy  was  Latin,  and  ecclesi- 
astically dependent  on  Rome,  as  late  as 
the  VI  cent.;  but  afterward  came  under 
the  Greek  Church  and  was  dejiendent  on 
Constantinople.  It  is  possible  that  this 
basilica  dates  fi'om  the  time  when  Cassio- 
dorus.  the  prime  minister  of  Theodoric, 
withdrew  to  Squillace,  and  founded  in 
this  neighborhood  the  great  monastery  of 
Vivarese.  and  other  ecclesiastical  establish- 
ments. In  a  wall  near  by  is  set  a  By- 
zantine relief  in  marble  representing  the 
Virgin  and  Child.  The  Virgin  wears  the 
costume  of  the  empress  Theodora  in  the 
mosai(^s  of  St.  Vitale  at  Ravenna,  and  the 
Child  is  dressed  like  a  little  Roman  em- 
peror of  that  period.  The  woi'kmanshij) 
is  excellent,  and  the  relief  may  have  come 
from  the  churcli. 
KO.MK  (i!oma),  Italy. 

S.  Angelo.     See  Castle  of  S.  Aiii/rJo. 

AuA  C(ELi.    Sec  iSYrt.  Maria  in  ArarcU. 

Arcus  AiUiEXTAiuus,  the  Arch  of  Sep- 
timius  Severus  on  the  N'elabrum  (called 
Arch  of  the  Silversmiths),  erected  by  the 
money-changers  and  merchants  of  the 
Forum  Boariuiu  to  the  emperor,  the  em- 
press Julia,  aiul  their  sons  Caracalla  and 
Geta.  The  monument  is  of  brick  en- 
crusted wilii  marble;  the  masonry  is  good, 
but  tiie  over-rich  decoration  testifies  to 
the  decadence  of  art.  The  cornice  con- 
sists of  seven  elaborately  moulded  mem- 
bers, and  the  frieze  bears  exuberant  foli- 
age ornament.  On  each  long  side  there 
are  four,  on  each  small  side  two,  pilasters 


with  Composite  capitals.  On  the  sides  of 
the  (tpeniug,  which  is  not  an  arch,  but  has 
a  flat  lintel,  are  reliefs  representing  the 
emperor  and  his  family  offering  sacrifice  ; 
though  damaged,  they  are  of  nnich  value 
from  the  arclueological  details  illustrated. 
There  are  also  some  sculi:)tures  on  the  ex- 
terior. This  arch  was  obviously  the  model 
for  much  of  the  decoration  of  the  early 
Renaissance.  It  abuts  against  the  church 
of  S.  Giorgio  in  Velabro.     {Sec  Fiy.  Ifi2.) 

Arch  of  Augustus,  a  triumphal  arch 
erected  in  honor  of  the  victory  at  Actium. 
It  stood  on  the  Forum  Ronuinum,  adjoin- 
ing the  Temple  of  Julius,  and  was  in  part 
masked  by  the  Temple  of  Castor  and  Pol- 
lux as  rebuilt  by  Tiberius.  This  arch  is 
now  gone  except  its  massive  foundations 
of  travertine,  which  were  discovered  in 
1888.  These  show  that  it  had  three  arch- 
ways, the  central  one  of  which  was  14  ft. 
in  span. 

Arch  of  Constaxtixe,  the  best  pre- 
served of  Roman  triumphal  arches,  and  in 
general  effect  the  most  impressive.  It 
was  dedicated  in  31.5  a.d.  It  has  a  large 
central  archway  flanked  by  two  smaller 
arches.  Each  front  is  ornamented  with 
four  Corinthian  columns  on  pedestals, 
supporting  blocks  of  the  entablature, 
which,  with  the  dies  resting  upon  them, 
form  pedest;ds  for  statues  in  Dacian  cos- 
tume. Above  the  entablature  is  a  high 
attic,  the  central  comi)artments  of  wliicli 
bear  inscrijjtions,  the  others  are  filled 
with  reliefs  taken  from  the  monument  of 
Trajan,  and  representiug  that  emjjeror's 
triumphs  over  orientals  and  Dacians.  Be- 
neath the  entablature,  on  each  face,  over 
the  small  arches,  there  are  four  circular 
medallions  presenting  scenes  from  Trajan's 
private  life,  also  abstracted  from  his  mon- 
ument. Beneath  the.se  a  small  band  is 
carried  round  the  structure,  with  very 
rude  sculptures  of  Constautine's  cam- 
paigns. In  the  spandrels  of  the  large 
arch  are  Victories,  rudely  carved,  and  in 
those   of    the   snudl   arches   nymphs  and 


340 


EOME 


river  deities.  On  the  side-walls  of  the 
large  archway  are  otlier  reliefs  ]wrtraying 
exjjloits  of  Trajan,  and  on  tiiose  of  the 
small  arches  portraits  of  the  sous  of  Cou- 
stautine.  On  the  basement -piers  are 
scnlptnred  Yictorys  and  barbarian  prison- 
ers. On  the  summit  originally  stood  a 
bronze  group  of  Constantino  in  a  quadriga. 
The  reliefs  of  the  time  of  Trajan  repre- 
sent the  highest  type  attained  by  Eoman 
decorative  art ;  the  contrast  with  them  of 
the  rough  sculptures  of  Constantino's  day 


die  ages  it  was  transformed  into  a  fortified 
tower.  Upon  the  attic  were  originally 
placed  an  equestrian  statue  of  Drusus  and 
military  trophies. 

Arch  of  Gallienus,  now  a  simple 
arch  of  travertine,  29  ft.  high  and  Si  ft. 
in  span,  flanked  by  pilasters  with  Corin- 
thian cajiitals  supporting  an  entablature, 
and  bearing  an  inscription  of  262  a.d. 
commemorating  the  invincible  bravery  and 
the  remarkable  piety  of  Gallienus.  A 
drawing  of  the  xv  cent,  shows  this  arch 


Fig    ICi,  — Rome 


is  striking.  The  height  of  the  large  arch- 
way is  38  ft.,  of  the  small  ones  24|  ft. 
{See  Fig.  163.) 

AiiCH  OF  Diiusrs.  father  of  the  em- 
peror Claudius,  erected  over  the  Appian 
Way  by  decree  of  the  Senate  in  8  b.c,  in 
recognition  of  the  general's  successes  in 
the  Kha?tian  and  German  wars.  It  has  a 
single  archway  of  massive  travertine  ma- 
sonry, flanked  by  two  Composite  columns 
on  high  pedestals.  Traces  can  be  distin- 
guished in  the  mass  of  masonry  first  placed 
on  the  arch  by  Caracalla,  who  made  it 
serve  to  carry  the  Anio  aqueduct  over  the 
street,  of  the  pediment  which  originally 
surmounted  the  entablature.     In  the  mid- 


with  a  central  decorative  pediment  and 
two  side  portals.  It  was  erected  in  2U2 
A.D,,  in  the  line  of  the  Servian  wall,  and 
corresponds  to  the  ancient  Esquiline  Gate 
of  Tarquin,  jiart  of  whose  foundation  ex- 
ists. It  sjians  the  modern  Via  di  San 
Yito. 

Arch  of  Jaxus  Quadkifrons,  a  four- 
way  arch  of  Greek  marble  at  one  extrem- 
ity of  the  Forum  Boarium,  built  in  part 
of  older  materials.  It  is  heavy  and  de- 
based in  style,  and  instead  of  having  any 
connection  with  Janus,  it  is  plausibly  con- 
jectured to  have  been  built  for  the  tri- 
umphal entry  of  Constantine  after  his 
victory  over  Maxentius.     It  was   used  in 


341 


ROME 


antiquity  as  a  sort  of  financial  excliange 
or  bourse.  It  is  pierced  by  two  passages 
at  rigbt  angles,  leaving  four  massive 
angle-piers,  the  central  space  being  covered 
bv  a  groined  vault  formed  of  pots.  On  each 
face,  arranged  in  two  tiers  beside  the  arch- 
way, are  twelve  niches,  eight  for  figures  of 
divinities  and  four  blind.  The  frieze  and 
cornice  are  much  damaged,  and  the  attic 
is  gone.     The  present  height  is  39  ft. 

Arch  of  SEPTiMirs  Severus,  in  the 
Forum  Romanum.  built  ;203  a.d.,  in  com- 
memoration of  the  victories  over  the  Par- 
thians  and  Arabs,  and  in  honor  of  the  em- 
peror and  his  sons  Caracalla  and  Geta.  It 
has  three  archways  with  eoifsred  vaults, 
the  central  one  much  the  largest,  flanked 
by  Composite  columns  on  high  basements. 
In  the  spandrels  of  the  large  archway  are 
carved  Mctorys  bearing  trophies  ;  in  those 
of  the  smaller  ones  are  river  gods.  Over 
the  small  archways  are  reliefs  presenting 
incidents  of  the  campaigns,  and  on  the  ped- 
estals of  the  columns  arc  sculptured  cap- 
tive barbarians.  The  high  attic  bears 
pompous  inscriptions,  and  originally  sup- 
ported a  grouj)  in  Ijronze  of  the  six-horse 
triumphal  chariot  of  the  laurel-crowned 
emperor.  The  substructure  is  of  traver- 
tine, the  columns  of  jiroconnesian  mai'ble, 
and  the  rest  of  the  monument  of  pentelic. 
The  width  is  83  ft.,  the  height  75  it. 
From  the  artistic  side  the  monument 
shows  decadence  in  its  proportions,  and 
particularly  in  its  sculpture. 

Akcu  of  SEPTiMir.s  Severus  ox  the 
Velabku.m.     See  circus  Arrjenfarius. 

Arch  of  Titus,  a  monument  dedicated 
in  81  x.T).,  by  the  Roman  senate  and  peo- 
ple, in  honor  of  the  destruction  of  Jerusa- 
lem in  70  A.n.  It  stands  on  the  elevation 
called  the  Velia,  S.  E.  from  the  Forum 
Romanum.  In  the  middle  ages  it  was  em- 
bodied in  the  construction  of  a  fortress- 
tower  of  the  Frangipani,  and  it  was  not 
isolated  until  1822.  It  is  a  triumphal  arch 
of  a  single  opening,  simple  in  outline,  and 
in  excellent  architectural  taste.    The  arch- 


way is  flanked  on  lioth  faces  by  two  en- 
gaged Composite  columns  on  each  side, 
su2)porting  an  entablature  whose  frieze  is 
sculptured  with  a  sacrificial  procession. 
Above  the  cornice  rises  an  attic  about  14 
ft.  high,  bearing  in  jianels  the  dedicatory 
inscription  and  that  commemorating  the 
restoration  by  Pius  VII.  Upon  it  origi- 
nally stood  a  four-horse  chariot.  The  span- 
drels of  the  arch  are  carved  with  Victo- 
rys.  It  is  especially  noted  for  the  reliefs 
which  adorn  the  interior  of  the  passage. 
Tliese  count  among  the  best  productions 
of  Roman  decorative  art,  and  represent  on 
one  side  the  emjieror  Titus  crowned  by 
Victory  in  his  triumphal  chariot,  conduct- 
ed by  the  goddess  Roma  and  attended  by 
lictors  and  rejoicing  citizens  ;  and  on  the 
opposite  side  the  procession  with  the  booty 
of  Jerusalem,  in  w'hich  the  shew  -  bread 
table  and  the  seven-branched  candlestick 
are  cousiiicuous.  At  the  summit  of  the 
coffered  vault  Titus  is  seen  borne  up  to 
the  gods  by  an  eagle.  The  height  of  the 
arch  is  51  ft. 

Arch  of  Tra.jan,  originally  connect- 
ing the  Forum  of  Trajan  with  that  of 
Augustus.  Its  sculptures  were  used  to 
adorn  the  existing  Arch  of  Constautiue, 
and  other  fragments  survive  in  the  Later- 
an  .Museum. 

Athiu-M  Vest.e.  Sec  House  of  the  Ves- 
ial  Virf/iiis. 

Auditorium  of  Maecenas,  so-called, 
an  interesting  structure  in  the  ancient 
gardens  of  Maecenas.  It  is  rectangular  in 
plan,  1)2  ft.  by  34  ft.,  with  six  rectangular 
niches  in  the  side  walls  of  the  interior, 
and  at  one  end  a  semicircular  cxedra  of 
six  tiers  of  seats  originally  encrusted  with 
marble.  The  niches  are  painted  with 
trees,  flowering  i^lants,  and  birds,  of  good 
style.  The  walls  show  inside  and  out  the 
opiit:  retioilahiin  masonry,  in  small  blocks 
of  tufa,  of  the  early  empire. 

Baptistery  of  Constaxtixe.  See  S. 
Giovanni  in  Fonte. 

Barracks  of  the  Vigiles,  a  bodv  of 


S42 


ROME 


niPii  piirolleil  from   the  bc<iiiiiiinLr  <if  thv 
empire,  xiiidor  military  discipline,  to  serve 
as  police,  firemen,  and  lamjilighters.     The 
stationes  were  sumptnoiis  buildin^js.  with 
halls  decorated  with  marble 
and  mosaics,  as  well  as  statnes 
and  other  works  of  art.     The 
minor  barracks  were  also  lare-c 
and  fine  buildings.     The  most 
perfect   of   them    surviving   is 
one  of  the  two  of  Cohort  V 11. . 
near  the   church  of  S.   Criso- 
gono  in  Trastevere.     It  has  a 
large  colonnaded  atrium  with 
mosaic  pavement,    surrounded 
by   series    of   rooms,    some   of 
them  lavishly  decorated,  which 
formed  two,  and  perhaps  three, 
stories.     Among  the  rooms  are 
an   interesting  larariuiii  or 
chapel,    and   one    fitted   as    a 
spacious  plunge-bath,  with  in- 
crustation of  thin  slabs  of  colored  marbles 
arranged  in  panels. 

Basilica  of  Constantine,  on  the 
Forum  Ivomanum,  formerly  known  as  the 
Temple  of  Peace,  built  by  JMaxentius.  and 
after  his  fall  dedicated  in  the  name  of  Con- 
stantine.  The  foundations  of  the  great 
structure,  the  finest  example  of  a  vaulted 
basilica,  can  be  traced  throughout,  and 
sufficient  of  the  piers  and  vaulting  remains 
standing  to  afford  material  for  a  complete 
restoration.  The  building  is  of  architect- 
ural importance  from  its  wide  deviation 
from  classical  traditions,  so  that  it  repre- 
sents a  step  in  the  development  of  later 
styles.  It  consisted  of  a  nave  262  ft.  long 
and  82  ft.  wide,  flanked  by  aisles  52  ft. 
wide.  Each  aisle  was  vaulted  in  three 
bays  at  right  angles  to  the  nave.  The 
vaults  of  the  north  aisle,  with  their  im- 
posing arches  80  ft.  high  and  07  ft.  in 
span,  are  still  standing,  and  were  studied 
as  models  by  the  architects  of  St.  Peter's. 
At  the  western  extremity  of  the  nave 
tliere  was  a  tribune.  At  a  subsequent 
date,  an   entrance  with  a  portico  and  a 


flight  of  steps  was  formed  in  the  ini(hlleof 
the  south  long  side,  and  a  second  tribune 
was  constructed  op])osite  to  it  in  the  cen- 
tral bay  of  the  north  nave.     At  the  east 


Fjg.  )64.— Rome,  Basilica  of   Constantine   and    55    Cosmn  and   Damiano, 


end  a  seven-arched  portico  was  carried 
across  the  entire  front.  In  the  exterior 
wall  of  each  bay  of  the  aisles  opened  three 
large  arched  windows.  The  nave  was 
covered  with  groined  vaulting,  which  at- 
tained the  height  of  115  ft.,  and  also  had 
windows.  The  decoration  included  huge 
columns,  niches,  and  many  statues.  The 
basilica  was  ruined  by  an  earthquake  in 
1.349.     {See  Fi(j.  I64.) 

Basilica  Jovis,  a  great  hall  to  the 
right  of  the  entrance  of  the  palace  of 
Domitian,  on  the  Palatine  Hill,  forming 
a  room  of  the  palace  for  the  administra- 
tion of  Justice.  It  is  of  excellent  propor- 
tion, with  wide  nave  and  narrow  side- 
aisles,  each  separated  from  the  nave  by  a 
range  of  seven  columns.  At  one  end  there 
was  a  large  apse  with  seats  for  the  judges. 
A  balustrade  divided  the  sj^ace  reserved 
for  the  magistrates  from  that  open  to  the 
public.  This  hall  was  probably  vaulted, 
and  in  type  it  is  very  close  to  the  earlier 
Christian  basilicas. 

Basilica  Julia,  on  the  south  side  of 
the   Forum   Romanum,  a   great  building 


34.3 


ROME 


begun  by  Civsiir  in  'A  is.c,  and  linislied 
by  Augustus.  It  fornu'd  iiractically  a 
covered  forum  for  the  courts  of  justice 
and  the  needs  of  business.  It  was  greatly 
injured  by  lire,  and  was  restored  in  377 
A.u.,  by  the  prefect  Gabinius  Vettius 
Probianus.  The  existing  remains  rejire- 
sent  this  restoration.  In  plan,  it  is  a  rec- 
tangle 151  ft.  by  :?;i8  ft.,  tlie  long  sides 
being  the  fronts.  It  had  neither  culuniiis 
nor  projec^ting  tribune,  but  on  the  long 
sides  three  ranges  of  arcades,  each  resting 
on  eighteen  piers,  and  on  the  small  sides 
also  three  ranges,  each  with  eight  piers. 
The  central  sjiace,  measuring  59  ft.  by 
253  ft.,  had  fourteen  piers  on  each  long 
side  and  four  on  each  small  side.  The 
Basilica  had  galleries  over  the  aisles,  whirh 
were  covered  with  groined  vaulting  ;  the 
central  space  was  roofed  with  wood,  or 
possibly  sheltered  merely  by  an  awning. 
The  pillars  were  partly  of  brick,  partly  of 
travertine  ;  those  on  the  Forum  front 
were  of  travertine.  ()n  the  outward  side, 
the  piers  were  adorned  with  semi-columns, 
those  of  the  first  story  being  Doric  with 
three  rosettes  on  the  neck  and  Attic  bases, 
and  those  of  the  second  story  being  Ionic. 
The  range  of  arcades  toward  the  Forum 
was  called  the  Portions  Jnlia ;  in  it  were 
placed  the  tables  of  tlie  money-changers. 
The  central  sjjace,  two  steps  higher  than 
the  porticoes,  was  enclosed  by  perforated 
barriers  of  marble  ;  it  was  especially  ap- 
propriated to  the  civil  conrt.  Twenty- 
four  piers  have  remained  standing,  most 
of  them  toward  the  N.  W.  corner.  On 
the  south  long  side  there  remain  piers 
and  walls  of  tufa,  fdnuiiig  a  row  of  shops, 
which  repri'sent  the  constructions  of 
C;T;siir. 

Basilica  Ulpi.v,  occupying  a  great 
part  of  tlie  N.  W.  end  of  the  Forum  of 
Trajan.  Hcilh  its  ends  are  covered  by 
modern  houses,  but  the  lower  parts  of  the 
columns  and  walls  of  the  central  portion 
are  exposed.  It  was  of  two  stories,  184  ft. 
wide,  five-aisled,  the  width  of  the  middle 


aisle  82  ft.  The  long  sides  were  the  cliief 
fronts.  The  columns  were  of  giallo  an- 
tico,  jiavonazetto,  and  granite  ;  the  roof 
was  covered  with  sheets  of  lirouze,  and  the 
floor  jjaved  with  marbles  of  different  col- 
ors. It  is  held  by  some  authorities  that 
the  central  space  was  open  to  the  sky. 
On  the  N.  W.  side  of  the  basilica  was  a 
conrt  surrounded  by  two-storied  colon- 
nades ;  in  tlie  centre  of  this  court  stood 
the  column  of  Trajan. 

Baths.     See  Thcrmce. 

BoccA  DELLA  VekitI.  Scc  S/iI.  Mdvid 
in  C'osmediii. 

Bridge  of  Saxt'  Anrelo,  the  chief 
liridge  of  Rome,  built  in  13-1  a.d.  by  Ha- 
drian, directly  opposite  his  monument, 
and  in  antiquity  called  the  Pons  ^Elius 
and  forming  part  of  the  Via  Aurelia. 
Five  of  the  massive  travertine  arches  are 
ancient,  the  sixth  dates  from  the  xvi 
century.  In  1530  Clement  VII.  set  up  the 
statues  of  St.  Peter  and  St.  Paul  on  the 
j)arapet  at  the  entrance  of  the  bridge,  and 
in  1008  Clement  IX.  placed  the  statues  of 
the  ten  Angels  of  Suffering  over  the  piers. 

Bridge  of  the  Quattro  Capi,  as  now 
called  from  the  quadruple  Janus -heads 
on  the  surviving  one  of  the  ancient  bar- 
rier-piers. It  is  the  oldest  surviving  bridge 
of  Rome,  the  ancient  Pons  Fabricius. 
The  original  inscription,  which  is  still  in 
place  over  one  of  the  two  fine  semicircular 
arches,  shows  that  it  was  built  by  Fabri- 
cius in  02  B.C.,  and  tested  by  the  Consuls 
Paulus  ^Finilius,  Lepidus,  and  Marcus 
Tiollius,  in  21  B.C.  The  rough  masonry  is 
of  tufa  and  jieperino,  the  facing  of  traver- 
tine. The  central  pier  is  pierced  by  an 
arched  opening  framed  by  pilasters.  The 
bridge,  230  ft.  long  and  31  ft.  wide,  leads 
to  the  island  in  the  Tiber,  forming  one 
section  of  a  bridge  to  the  Trastevere. 

Cami'idogi.io.     See  Capitol. 

'i'lie  Cancklleria,  one  of  the  largest 

and  most  important  of  the  Koman  palaces, 

built  at  the  end  of  the  xv  cent.,  from  the 

designs  of  Bramante,  for  Cardinal  Riario, 


344 


ROME 


nepliew  of  Sixtiis  V.,  for  tlie  uses  of  the 
papal  chancery.-  The  buildings  are  ex- 
tensive, covering  an  area  about  235  ft. 
square,  and  including  as  an  integral  part 
of  the  plan  the  church  of  S.  Lorenzo 
in  Damaso  {q-v-)-  A  portion  of  the  of- 
ficial apartments  lies  behind  and  at  one 
side  of  the  church,  but  the  greater  part 
is  disposed  about  a  great  oblong  court 
of  imposing  design,  one  of  the  mo;^t 
justly  celebrated  works  of  Bramante. 
measuring  about  70  ft.  by  110  ft.,  and 
surrounded  by  two  stories  of  vaulted 
arcades,  the  arches  in  both  sjDringing 
from  quasi -Eoman  Doric  columns,  of 
which  the  shafts  of  red  granite  were 
taken  from  the  ancient  basilica  of  S. 
Lorenzo  which  was  replaced  by  the  new 
cimrch,  and  more  remotely  from  the 
neighboring  theatre  of  Pompey.  The 
arcades  are  each  crowned  by  a  full  en- 
tablature, and  above  the  arcades  is  a 
third  stage,  consisting  of  a  flat  wall 
faced  with  an  order  of  Corinthian  pi- 
lasters embracing  two  half-stories,  the 
windows  of  the  lower  square  with  mould- 
ed architraves  and  horizontal  caps,  those 
of  the  upper  small  and  round-arched, 
surrounded  by  simple  moulded  archi- 
trave. The  facjades  are  of  great  ele- 
gance. They  are  in  three  stages  of  rus- 
tic masonr}' :  the  first  stage  a  jilain  wall 
with  single  round-arched  windows,  crown- 
ed by  a  strong  moulded  cornice ;  the  two 
upper  stages  each  with  an  order  of  flat 
Corinthian  pilasters  arranged  in  couples. 
The  principal  front  on  the  Campo  dei 
Fiore  has  a  length  of  nearly  300  ft.,  of 
which  about  one-third  covers  and  hides 
the  church  of  S.  Lorenzo.  At  each  ex- 
tremity is  an  angle  pavilion  of  no  great 
projection.  The  first  story  has  two  door- 
ways, one  forming  the  entrance  to  the 
palace  and  the  other  to  the  church.  The 
latter,  designed  by  Vignola,  is  comparative- 
ly simple.  The  former,  by  Fontana,  is 
much  more  iiretentious,  consisting  of  an 
arch  some  10  ft.  by  20  ft.,  with  sculptured 


spandrels,  cnclo.sed  in  an  engaged  Doric 
portico  of  four  columns,  with  triglyphs  in 
the  frieze  and  surmounted  by  a  balustrade. 
The  walls  are  of  travertine,  perhaps  taken. 


F:g.  165. — Rome,  Cancellarra,  Cpu  * 

as  has  been  asserted,  from  the  Colosseum  ; 
the  doorway  and  windows  are  of  white 
marble.  The  details  are  everywhere  re- 
fined and  temperate.  The  interior  has 
many  fine  ajiartments,  some  of  which  are 
decorated  with  frescoes  by  \'asari,  Peruzzi, 
and  other  mastei's.     {See  Fig.  165.) 

The  Capitol.  (II  Campidoglio.)  The 
Capitol  hill,  the  central  seat  of  tlie  Roman 
power,  had  at  the  epoch  of  the  Renaissance 
become  degraded  from  its  ancient  archi- 
tectural splendor.  The  Citadel  or  Arx  on 
the  one  side,  and  the  Temple  of  Jupiter 
Capitolinus  on  the  other,  had  disappeared. 
Between  them  the  medieval  palace  was 
still  standing,  rebuilt  in  1380  by  Boniface 
IX.,  but  in  its  front  was  a  rough,  imprac- 
ticable cliff,  and  in  the  rear  were  the  in- 
clined planes  leading  down  to  the  Forum. 


3J5 


ROME 


Toward  the  middle  of  the  .wr  cent.,  Taul 
III.,  desiring  to  jnit  tliisccutrul  point  into 
a  more  befitting  condition,  commissioned 
Micliael  Angelo  to  lay  out  the  level  pla- 
teau in  front  of  the  mediaeval  jjalace  and 
to  erect  suitable  buildings.  Under  his  di- 
rection the  old  palace  was  substantially  re- 
built and  two  new  ones  erected,  enclosing 
on  three  sides  a  ti-apezoidal  space  about 
200  ft.  in  depth.  170  ft.  broad  at  the  rear, 
where  the  old  palace  stood,  and  130  ft.  at 
the  front,  the  two  side  buildings  converg- 
ing toward  the  front,  like  tlie  colonnades 
of  St.  Peter's.  From  the  foot  of  the  hill 
a  long  inclined  plane,  or  gradinata,  flanked 
by  balustrades,  leads  to  the  plateau,  end- 
ing at  the  top  in  two  great  pedestals  bear- 
ing the  statues  of  Castor  and  Pollux  with 
horses.       In    the    middle   of   the    square 


Fig.  166.— Rome,  Capitol  Hill. 
Scale  of  100  feet.  ,. 
1.  Capitoline  Museum.  2.  Pal.  of  the  Conservator!. 

3.  Capitol.  4.   Church  of  Araceli. 


stands  the  ancient  bronze  equestrian  statue 
of  JIarcus  Aurelius,  the  only  complete  ex- 
ample of  its  class  which  is  known  to  exist. 


t)f  the  buildings,  tlie  two  on  the  sides  of 
the  square,  known  respectively  as  the  Mu- 
seum of  the  Capitol,  and  the  Palace  of  the 
Conservatori,  are  alike  in  their  exterior, 
the  design  consisting  of  a  single  strongly 
marked  order  of  Corinthian  pilasters  stand- 
ing on  high  pedestals,  the  cornice  sur- 
mounted l\y  a  balustrade,  the  intervals  in- 
cluding two  stories,  of  which  the  first  is 
an  open  loggia  marked  by  a  sub-order  of 
Ionic  columns  in  the  intervals  of  the 
great  pilasters.  The  second  story  has  in 
each  interval  a  square  window  with  balus- 
trade, enclosed  by  a  Corinthian  order  with 
curved  f)edimeut.  Both  these  palaces  con- 
tain extremely  interesting  collections  of 
ancient  works  of  art,  and  the  gallery  of 
sculpture  in  the  iluseum  is,  next  to  that 
of  the  Vatican,  the  most  important  and 
valuable  in  existence.  {See  Fig. 
lOG.) 

The  central  Iniilding,  known 
as  the  Palace  of  the  Senator, 
which  encloses,  or  rci)laces,  the 
niedi;¥val  jialace.  is  in  harmony 
with  tlie  others,  though  of  some- 
what simpler  architecture.  Its 
plain  rear  wall,  which  towers  over 
the  Forum  Eomanum.  is  built  on 
the  remains,  and  even  imbeds 
some  of  the  Doric  arcades,  of 
the  ancient  Eoman  Tabularium. 
Its  fa9ade.  about  200  ft.  long, 
re2ieats  the  order  of  Corinthian 
pilasters,  raised,  however,  on  a 
high  basement  which  is  nearly 
covered  by  an  imposing  double 
flight  of  steps,  the  two  ramps 
skirting  the  wall  and  meeting  in 
the  middle  over  an  elaborate 
fountain.  The  order  covers  two 
stories  of  windows,  the  lower 
range  substantially  like  those  in 
the  other  palaces.  Of  this  fa9ade 
only  the  basemeiit  with  its  great 
staircase  was  comi)leted  at  the  time  of 
Michael  Angelo's  death  ;  the  upper  por- 
tions  were    carried    out    under  Giacomo 


S46 


ROME 


Fig    167. — Rome,  Capitol  and   Steps. 

ik'lla  Porta  and  Girolomo  Rainaldi.  Tlie 
square  tower,  which  takes  the  phice  of  that 
ou  the  mediaival  palace  and  has  two  belfry 
stages,  was  built  by  ^lartino  Lunghi  about 
1580.     (Sec  Fig.  167.) 

Castle  of  S.  Axcelo,  the  modern 
name  of  the  mausoleum  built  by  the  em- 
peror Hadrian  about  130  A. D.,  and  finished 
some  ten  years  later  by  Antoninus  Pius. 
The  ancient  building 
was  a  round  tower  abou  t 
230  ft.  across,  on  a  huge 
square  sxibstructure 
and  surmounted  jirob- 
ably  by  a  smaller  tower, 
rising  some  Ki.j  ft. 
above  the  ground.  The 
exterior  was  faced  with 
marljle  and  probably 
encircled  by  a  range, 
perhaps  by  two  ranges, 
of  columns  which,  it  is 
said,  furnished  the  col- 
umns of  the  old  basilica 
of  St.  Paul  without  the 


statue  of  Hadrian,  ac- 
cording to  others  the 
gilded  pineapple  which 
now  adorns  the  upper 
court  of  the  Vatican, 
'i'lio  square  basement 
is  lost  in  medieval  ad- 
ditions, the  ujiper  cir- 
cle has  disapi^eared, 
and  the  great  tower  has 
Ijceu  heightened  by  a 
blank  wall  crown  c  d 
with  an  arched  corbel- 
table  surrounding  the 
building,  with  a  high 
wall  above,  pierced  ir- 
regularly with  open- 
ings of  various  forms 
and  sizes.  Still  above 
this,  on  the  side  toward 
a  sqiiare  building  of 
with   the   familiar 


archangel  Michael. 


the  bridge,  rises 
three  stories,  capjjed 
bronze  figure  of  the 
1'he  masonry  of  the  original  building 
is  of  hewn  peperino  and  of  extraordinary 
thickness,  the  monument  having  con- 
tained but  a  single  square  chamber  in  the 
centre,  approached  from  an  entrance  arch- 
way through  an  ascending  sjiiral  corridor 


walls.  It  bore  upon  its 
summit,  according  to 
some  authorities,  the 


Fig.  168. — Rome,  Castle  of  S.  Angelo. 
347 


ROME 


11  ft.  wide  and  oO  ft.  high,  and  Hghted 
by  narrow  openings  in  the  enedosing 
walls.  The  moderu  portions  of  tlie  build- 
ing contain  many  apartments,  of  which 
some  are  decorated  witli  frescoes  by  Giulio 
Komano,  Pcrino  del  Vaga,  and  other 
masters.  The  history  of  this  remarkable 
monument  is  as  varied  as  that  of  Rome  it- 
self. It  served  its  intended  uses  as  an  im- 
perial burying-])lace  only  until  the  death 
of  Septimius  Severus,  in  211,  scarcely 
eighty  years  from  its  commencement. 
Two  centuries  later  it  became  a  fortress 
under  Honorius,  and  in  the  siege  by  Viti- 
ges  the  soldiers  of  Belisarius  defended  it  by 
throwing  down  its  marble  statues  upon  the 
heads  of  the  Goths.  During  the  troubled 
centuries  which  followed  it  fell  succes- 
sively into  the  hands  of  Romans,  Goths. 
and  Greeks.  About  the  middle  of  the  x 
cent,  it  was  the  stronghold  of  the  popes, 
and  while  occujiied  by  the  French  cardi- 
nals, underwent  various  changes  of  form. 
It  was  ruined  by  the  Romans  themselves 
in  1379,  in  auger  at  its  occupation  by  the 
]iartisans  of  the  antipope  Clement  VII., 
and  repaired  by  Boniface  a  dozen  years 
later.  Alexander  YL,  about  1.500,  built 
additional  fortifications  between  it  and  the 
river,  and  finished  the  gallery  of  commu- 
nication with  the  Vatican.  In  Ki-l-l  the 
outer  fortifications  were  built,  on  an  ex- 
tensive scale  and  of  great  strength,  from 
Bernini's  designs,  ilany  remarkable  and 
famous  statues  and  other  remains  of  an- 
cient Rome  have  been  found  in  this  monu- 
ment.    {See  Fig.  KJS.) 

CniESA  NuovA.  See  Sht.  Muria  hi 
Vallicella. 

CHrRCH  OK  TiiK  Gesuiti,  Called  II  (ie- 
sii,  the  chief  church  of  the  Jesuit  Fathers, 
noted  for  the  sumptuousness  of  its  interior 
decoration.  It  was  planned  and  partly  built 
bvA'ignola  for  Cardinal  Alexander  Farnese 
about  1,")G8,  and  finished  after  his  death  by 
his  pupil,  Giacomo  della  Porta,  who  addt'd 
the  facade,  with  some  variation  from  ^'ig- 
nola's  design.     Toward  the  end  of  the  next 


century  the  Jesuit  father  Andrea  Pozzo 
added  the  decorative  features  which  set 
the  fashion  in  the  rococo  style  for  Jesuit 
churches  throughout  Europe.  The  church 
is  cruciform,  and  has  a  sjDacious  nave  55  ft. 
wide,  short  transept  arms,  a  choir  of  one 
bay  and  eastern  apse.  The  four  arms  are 
barrel-vaulted  and  the  crossing  covered  by 
a  hemispherical  dome.  A  single  order  of 
coupled  Corinthian  pilasters,  lining  the  in- 
terior, shows  the  sinijilicity  and  dignity  of 
Viguola's  design.  Square  chapels  with 
low  domes  border  the  nave  and  choir.  The 
drum  of  the  great  dome  is  wainscoted  with 
a  smaller  order  of  pilasters,  enclosing  pedi- 
mented  windows  and  niches.  The  vaults 
are  lavishly  decorated,  and  in  their  lunettes 
are  the  richly  framed  rococo  windows  of  the 
clerestory.  Della  Porta's  fa(;atle  consists 
of  two  superposed  orders  of  coupled  Co- 
rinthian pilasters.  The  lower  story  has 
a  double  pediment  (a  triangular  within  a 
curved)  over  the  central  door  ;  the  second, 
narrowed  to  the  width  of  the  nave  and 
flanked  by  scroll  buttresses,  has  a  pedi- 
mented  window  between  two  niches  under 
a  large  triangular  pediment. 

The  Circus  of  Maxextii.s,  built  in  309 
A.I).,  could  receive  seventeen  thousand 
spectators.  The  round  end  is  turned  to 
the  east  ;  at  its  centre  is  i\\c  porfn  fn'tiin- 
pluilis,  through  which  the  victor  passed 
in  triumph,  and  at  the  west,  between  two 
three-storied  towers,  the  ten  carceres  ar- 
ranged on  the  arc  of  a  circle,  in  which  the 
racers  were  confined  to  insure  a  fair  start. 
The  circus  is  1,(J20  Roman  ft.  long  ami  x'-lo 
ft.  wide  ;  the  spina  is  1,000  ft.  long,  placed 
a  little  diagonally,  so  as  to  give  more  room 
at  the  entrance  than  at  the  opposite  end. 

Cloaca  Maxima,  a  famous  monument 
of  the  time  of  the  kings  of  Rome,  intended 
to  relieve  the  town  of  rain  floods.  The 
semi-cylindrical  vault  of  splendid  Etrus- 
can masonry  in  large  voussoirs  of  tufa, 
with  ai-(hes  of  travertine  at  short  inter- 
vals, opens  on  the  Tiber,  still  jicrfect  and 
performing   its    original    function.      The 


348 


ROME 


height  of  the  arcli  is  some  l^.'  ft.,  iiiul  its 
width  11  ft. 

College    op  the     Keopiiyte.s.      See 
Sta.  Maria  dei  JHoiiti. 

CoLLEGio  Ko.MA^'0.  The  very  exten- 
sive buikliugs  of  the  Koman  (Jesuit)  Col- 
lege, founded  in  1582  by  Gregory  XIII., 
were  built  from  the  designs  of  Ammauati. 
They  include  the  sumptuous  church  of  S. 
Ignazio  (q.  r.),  and  cover  an  area  measur- 
ing about  310  ft.  by  nearly  -ITO  ft.,  enclos- 
ing two  great  courts  ;  one  an  oblong  of 
about  75  ft.  by  130  ft.  laid  out  as  a  gar- 
den, with  vaulted  arcades  on  three  sides, 
the  other  a  square  of  rather  more  than  100 
ft.,  surrounded  by  two  stories  of  vaulted 
arcades  each  enclosed  in  an  order  of  pilas- 
ters, Ionic  and  Corinthian  respectively, 
the  arcades  giving  access  to  the  numerous 
class-rooms  and  other  apartments  of  the 
college.  The  principal  fa9ade  is  flat  and 
uninteresting.  It  has  a  length  of  more 
than  300  ft.,  its  centre  slightly  projecting 
and  of  superior  height,  with  two  entrance 
doorways  in  the  first  story.  The  height  is 
divided  into  two  stages,  each  including  two 
stories  of  windows  enclosed  in  srpiare  pan- 
els, with  an  attic  above  the  main  cornice. 

The  CoLOSSErii,  or  Flavian  Amphithea- 
tre, the  greatest  architectural  monument 
of  the  Roman  people,  was  begun  by  Ves- 
pasian on  the  site  of  an  artificial  lake  be- 
longing to  Nero's  Golden  House,  and 
dedicated  by  Titus  in  80  a.d.  Although 
ravaged  in  the  xi  cent,  by  Robert  Guis- 
card,  afterward  a  baronial  fortress  of  the 
Frangipaui,  later  a  rol)ber  stronghold,  and 
for  centuries  a  public  quarry,  about  half 
of  the  total  mass  still  remains,  including 
more  than  half  of  the  massive  exterior 
facing  of  travertine,  with  three  tiers  of 
arcades,  originally  eighty  in  each  tier, 
adorned  by  engaged  columns,  Doric,  Ionic, 
and  Corinthian,  and  entablatures,  and  a 
fourth  story  with  Corinthian  pilasters, 
but  with  the  intercolumniations  closed  ex- 
cept for  rectangular  windows  in  alternate 
spaces.     The  seats  rose  in  tiers,  the  low- 


est of   them  elevated,  for  security,  on  a 
podium  above   the  arena,  and   were  sub- 
divided by  two  precinctions  or  horizontal 
passages  of   communication,  each  with   a 
wall  at  the  back,  and  bordered  above  by  a 
colonnaded  gallery.     Communication  was 
further  provided  for  by  a  number  of  radial 
stairways  in  the  tiers  of  seats.     Access  to 
the  auditorium  was  established  by  an  elab- 
orate  system  of   jiassages  and   stairs   dis- 
posed in  the  concentric  vaults  ujion  which 
the  seats  rested,  and  by  one  hundred  and 
sixty  doorways,  called  vom  iloria,  from  these 
into  the  auditorium.     The  seats  were  of 
marble,  the  most  imjjortant   constructive 
parts  of  the  interior  walls  of   travertine, 
and  the  less  important  parts  and  the  vaults 
of  brick,    tufa,    and   concrete.     In   some 
of  the  lowest  vaults  were  arranged  dens 
for  wild  beasts,  and  quarters  for  gladiators 
and  the  various  requirements  for  service. 
An  elaborate  system  of  substructions  be- 
neath the  arena  appears  to  indicate  that 
it  could  be  flooded  for  a  naumachy,  and 
there  w^ere  efficient  devices  for  the  drainage 
of  the  entire  interior,  which  have  been  in 
jjart  restored.     Corbels  and  pierced  stones 
in  the  highest  story  mark  the  placing  of 
the   masts  which   supported    the   vela   or 
awnings    for    protection    from    the   sun. 
The  dimensions  are  :  axes  of  exterior  el- 
lipse, 617  ft.  and  513  ft,  ;  axes  of  arena, 
283  ft.  and  148  ft.  ;  exterior  height,  159 
ft.     The  auditorium   could   hold   eighty- 
seven  thousand  peojjle. 

Column  of  Marcus  Auuelius,  in  the 
Piazza  Colonna.  It  is  an  imitation  of  the 
Column  of  Trajan,  a  Roman-Doric  col- 
umn of  white  marble  87  ft.  high,  on  a 
square  pedestal  of  the  height  of  10  ft. 
The  shaft,  13  ft.  in  diameter  at  the  base 
and  12  ft.  at  the  top,  is  formed  of  twenty- 
eight  drums,  and  is  sculjitured  with  the 
Roman  campaigns  against  the  Marcoman- 
ni  and  kindred  peoples,  in  high  relief  and 
in  a  somewhat  hard  and  dry  style,  occupy- 
ing a  spiral  of  twenty  turns.  The  render- 
ing of  rivers,  buildings,  etc.,  is  like  that 


S49 


KOME 


on  the  Column  of  'I'rajaii.  The  present 
base  is  modern  ;  the  aneient  one  lies  deep- 
er.   The  existing  inscription,  ascribing  tlie 


Fig.  169.  -Rome,  Column  of  Marcus  Aurelius. 

monument  to  Antoninus  I'ius.  is  incorrect. 
In  the  interior  of  the  shaft  there  is  a. 
winding  stair  leading  to  the  top  of  the  capi- 
tal, on  which  stands,  since  1580,  a  gilded 
bronze  statue  of  St.  Paul,  13  ft.  higii. 
placed  there  by  Sixtus  V.  {See  Fif/.  KiO.) 
CoLiMX  OF  PiiocAs,  conspicuous  in 
the  middle  of  the  Forum  Komanum,  a 
fluted  Coriuthian  column  54  ft.  high,  taken 
from  some  ancient  building,  and  raised  on 
a  high  base  of  brick  with  stejis  in  pyram- 
idal form  on  the  four  sides.  An  inscrip- 
tion shows  that  it  was  erected  by  the 
exarch  Smaragdus  in  008  .\.i».,  in  honor 
of  the  emperor  I'hocas,  whose  statue  in 
gilt  bronze  formerly  stood  on  the  capital. 


Coi.rMX  OF  Til  A. I  AX.  at  the  X.W.  end 
of  Trajan's  Forum,  between  the  Basilica 
Ulpia  and  the  temple  of  Trajan.  The 
column  was  erected  in  honor  of  the  em- 
peror, in  113  A.D.,  by  the  Roman  Senate 
and  jieople,  and  his  ashes  were  placed  in 
a  sepulchral  chamber  beneath  it.  It  is 
a  gigantic  Eoman-Doric  column  resting 
on  a  square  basement,  ornamented  on 
three  sides  with  military  trophies  in  re- 
lief, and  having  a  door  in  the  fourth 
side.  On  the  angles  stand  imperial 
eagles,  and  the  plinth  and  torus  of  the 
colunni  are  carved  with  wreaths  of  oak 
and  ivy.  The  shaft  consists  of  twenty- 
three  blocks  of  marble,  on  which  are 
sculptured,  in  a  spiral  of  twenty- two 
turns  about  3  ft.  high,  incidents  of 
Trajan's  two  triumphant  Dacian  cam- 
paigns. The  style  is  vigorous  and  real- 
istic, and  the  execution  careful.  On 
the  pedestal  above  the  capital  of  the 
column  stood  a  statue  of  Trajan  ;  since 
158T  its  place  has  been  occupied  by  a 
bronze  figure  of  St.  Peter.  The  total 
height  is  1-17  ft.;  height  of  shaft  87  ft.; 
diameter  of  shaft  above  base  11  ft.;  at 
neck  10  ft.;  height  of  basement  1G|  ft. 

The  Curia,  the  chief  meeting-place  of 
the  Senate,  is  identified  with  practical 
certainty  by  Lanciani  with  the  unimpor- 
tant existing  church  of  S.  Adriano,  which 
faces  the  Forum  Romanum.  Established 
by  TuUus  Hostilius.  it  was  several  times 
burned  or  pulled  down  and  rebuilt,  the 
last  time  in  the  reign  of  Diocletian.  The 
ancient  structure  has  been  much  modified 
since  it  was  transformed  into  a  church, 
the  level  of  the  floor  having  been  raised 
al)out  'il)  ft.,  and  the  npper  ]iarts  altered. 
The  front  is  about  70  ft.  wide,  buill  of 
concrete  faced  with  brick,  and  was  origi- 
nally coated  with  hard  stucco.  There  were 
tlii-ee  large  windows,  now  blocked  \\\\.  in 
the  fai/ade  over  the  ancient  doorway.  A 
drawing  of  the  xvi  cent.,  made  before  the 
level  of  the  floor  was  changed,  shows  the 
fa(;ade    with   a    hexastyle    portico   and   a 


350 


ROME 


pediment.  Tlie  bronze  doors,  older  than 
the  restoration  of  Diocletian,  were  taken 
by  Alexander  YI.  for  the  chief  entrance 
to  the  nave  of  St.  John  Lateran,  where 
they  still  are. 

Curia   Ixnocenziana.      See   Pulazzo 
lU  Monte  Citorio. 

Doiirs   xVuREA,    or   (xolden    ITonsc    of 
Nero.     See  Thcrmm  of  Titnx. 

Flavian'  Ampiiitiieatke.     See   Volos- 
scuin. 

FoxTAXA  dell'  Acqua  Felice,  con- 
spicnous  among  the  Eoman  fountains, 
erected  in  1585-ST,,  under  Sixtus  V.  (whose 
name  was  Felice  Peretti),  from  the  designs 
of  Domenico  Foutana,  the  water  being 
brought  from  springs  in  the  Alban  Moun- 
tains, a  distance  of  about  thirteen  miles. 
Three  great  arched  recesses  are  faced  with 
an  order  of  engaged  Ionic  columns,  stand- 
ing on  high  pedestals.  The  entablature 
is  overloaded  by  an  attic  as  high  as  the 
columns,  bearing  a  long  inscription,  and 
surmounted  by  a  group  of  sculpture  cov- 
ered by  a  pediment  and  ilanked  by  great 
consoles.  Obelisks  rise  from  the  angles. 
Under  the  central  arch  is  a  co- 
lossal statue  of  Moses  striking 
the  rock  ;  the  side  arches  con- 
tain figures  of  Aaron  and  Gid- 
eon. All  these  stand  on  pedes- 
tals of  rockwork  from  which 
the  water  springs  into  a  rec- 
tangular basin.  Four  lions  of 
gray  marble  crouch  in  front  of 
the  pedestals,  in  the  place  of 
four  ancient  ones  of  black  ba- 
salt which  have  been  placed  in 
the  Eg\iitian  Museum  of  the 
Vatican. 

FoNTANA  Paolina,  tlie  most 
imposing  of  the  architectural 
fountains  of  Rome.  It  is  sit- 
nated  on  the  slope  of  the  Jan- 
iculuni,  and  was  built  in  1G12 
by  Paul  V. ,  from  the  designs  of  Giovanni 
Fontana  and  Carlo  or  Stefano  Maderno. 
It  is  a  great  rectangular  building  about  90 


ft.  long,  faced  with  an  onler  of  Ionic  col- 
umns of  red  granite  on  very  high  pedestals, 
surmounted  by  an  overpowering  attic  bear- 
ing a  long  inscription.     The  central  por- 
tion resembles  an  open  three-arched  loggia. 
Between  the  pedestals  are  five  groat  rect- 
angular   niches    from    which     tiie    water 
springs   into   an   immense   basin,    with   a 
semicircular  front,    aliout    90   ft.    broad. 
The   water   is   brought   from  the  lake  of 
Bracciano,  about  twenty-five  miles  distant, 
by   the   ancient    Roman   aqueduct   called 
the   Aqua   Alsietina,    or   Trajana,   which 
was  restored  by  Paul  V.  and  given  its  new 
name  of  the  Acqua  Paola.     {tSec  Fi(j.  170.) 
Fontana   di   Tukvi.      This  fountain 
is  the  best  known  ami   most  admired  in 
Rome,  on  account  of  its  tradition  and  its 
bizarre   picturesqueness.      It   gains   great 
effect  from  its  position  in  the  middle  of 
the   facade   of   the    Palazzo   Conti.     The 
water   is   brought  from   a    point   on    the 
Wa   Collatiua  about  eiglit  miles  from  the 
city,     by    an    ancient    Roman    aqueduct 
called  the  Aqua  Virgo,  which  fell  into  ruin 
and    was   repaired  by   Leon    Battista  Al- 


Fig.  170. — Rome,  Fontana  Paolina. 

l)erti,  under  Nicholas  V.,  about  1453.  The 
fountain  was  built  by  (Element  XII.,  in 
1735,  from  the  designs  of  Niccolo  Salvi. 


361 


ROME 


Its  front,  backed  by  the  in(;:u\c  of  tlio 
palace,  has  a  breadth  of  about  (J8  ft.,  faeeil 
by  a  great  order  of  four  engaged  Corin- 
tliian  cohimns  on  liigh  pedestals,  and  sur- 
mounted by  a  higli  attic  bearing  statues 
and  an  inscription.  In  the  middle  in- 
terval is  a  l)road  decorated  niche  with  a 
statue  of  Neptune  ;  standing  statues  also 
occupy  the  side  intervals,  with  bas-reliefs 
in  panels  above.  The  same  architecture  is 
continued  across  the  whole  fa9ade  of  the 
palace,  nearly  150  ft.,  with  Corinthian  pi- 
lasters, and  two  stories  of  windows  in  the 
intervals.  At  tlie  foot  of  the  fountain  is 
a  mass  of  rockwork,  over  which  the  water 
dashes  from  openings  between  the  central 
pedestals,  with  the  horses  and  tritous  of 
Neptune  in  violent  action  in  the  midst, 
and  falls  finally  into  a  great  basin  about 
110  ft.  broad. 

The  FoKU-M  OF  Augustus,  between  the 
Forum   of    Nerva   and   that    of    Trajan, 
formed   a  step  in   the  great   imperial  ex- 
tension of  the  Forum  Romanum.     It  con- 
tained the  splendid  Temple  of  Mars  Ultor, 
and    was    surrounded   by    rich    porticoes, 
lavishly  decorated  and  adorned  witli  many 
works  of   art.     The   remains   of  the   en- 
closing wall  are  among  the 
most  impressive  in  Rome. 
It  is  in  massive  masonry  of 
pej)erino,  and  extends  to  a 
height  of  80  ft.  above  the 
present   ground-level,  and 
to  a  deptli  of  23  ft.  below 
it.     Four  arched  doorways 
are  still  visible  in  the  wall. 
Near  the  Temple  of  Mars 
an  arch  wliich  spanned  the 
ancient  street  still  stands. 
over  tlie  modern  Via  Bo- 
nella ;   it  is  built  of  greai 
blocks   of   travertine,   and 
is  now  called  the  Arco  dei  Pantani. 

Forum  Ro.m.vxu.m,  an  oblong  area  about 
700  ft.  long  and  240  ft.  to  120  ft.  wide, 
extending  from  tlie  Tabularium  at  the  foot 
of  the  C'apitoline  Hill,  to  the  Temple  of 


Vesta  and  the  Regia  at  the  extremity  of 
the  Sacra  Via,  opposite  the  Temple  of  An- 
toninus and  Faustina.  This  area  consti- 
tuted the  centre  of  the  primitive  Roman 
state,  and  became  the  site  of  a  long  array 
of  historic  scenes.  In  the  course  of  time 
it  was  surrounded,  and  even  encroached 
upon,  by  many  great  buildings,  and  nu- 
merous statues  and  other  works  of  art,  be- 
sides inscriptions,  were  set  up  within  it. 
On  the  N.  E.  side  rose  the  Mamertine 
Prisons,  the  Curia,  and  the  Basilica  Emi- 
lia ;  on  the  S.  W.  the  TemjDle  of  Saturn, 
the  great  Basilica  Julia,  and  the  Temple 
of  Castor  and  Pollux.  The  central  open 
space  formed  the  Con^itium,  where  public 
meetings  assembled.  Adjoining  this  on 
the  N.  W.  were  tlie  Rostra,  constituting  a 
platform  for  orators.  The  temples  of 
Concord  and  Vespasian  were  later  built  in 
the  Forum  itself,  in  front  of  the  Tabula- 
rium, and  the  Arch  of  Septimius  Severus 
rose  beside  the  Rostra.  At  the  S.  E.  end 
the  Temple  of  Julius  Cffisar  was  placed 
before  the  Regia,  and  finally,  in  the  vii 
cent.,  the  Column  of  Phocas  was  built  be- 
fore the  Rostra.  As  the  city  increased, 
the  ancient  Forum  became  too  contracted 


'fri0i 


^-^::} 


Fig    171   —Rome,  Forum   Romanum- 

for  the  public  needs,  and  between  the  time 
of  Cx^sar  and  that  of  Trajan  five  magnifi- 
cent new  fora  were  formed,  extending  in  a 
n(U'therlv  direction  from  the  Forum  Ro- 
manum lo  the  Campus  Martius.     Dui'iug 


352 


ROME 

tlio  miilille  ages  some  of  the  buildings  on  Minerva  wliich  constitnterl  i ts  eliiel"  orna- 
the  Forum  were  altered  into  churches  or  ment,  but  has  now  disajjpeared,  and  the 
feudal  strongholds  ;  others   were  used  as     Forum  Transitorium  because  it  formed  a 


Fig.  172, — Rome,  Fotum  Romanum. 
B  B,  Clu 


1.  Temple  of  Saturn. 

2.  Basilica  Julia. 

3.  Temple  of  Castor  and  Pollux, 

4.  Temple  and  House  of  Vesta. 


A  A,  Cloaca  Maxima.  B  B,  Clivus  Ca|;itolinus. 

5.  Temple  of  Julius  C3esar.  8.  Column  of  Phocas. 

6.  Temple    of    Antoninus     and       9.   Rostra. 
Faustina.  10.    Arch  of  Septimius  Severus. 

7.  Curia.  11.  Mamertine   Prisons. 


C.  Via  Sacra. 

12.  Temple  of  Concord. 

13.  Temple  of  Vespasian. 

14.  Porticus    Deorum  Consenti- 
um. 


quarries  and  their  marble  encrustation  and 
sculptured  ornament  as  raw  material  for 
the  production  of  lime  ;  and  the  area  be- 
came so  much  choked  with  rubbish  and 
Avith  earth  washed  from  above  that  in 
places  the  ancient  loavement  was  buried  to 
a  depth  of  40  ft.  Early  in  the  present 
century  excavations  were  begun  and  car- 
ried on  in  a  desultory  way  until  1848. 
Work  was  resumed  by  the  Italian  Govern- 
ment in  1871,  and  energetically  pushed  to 
its  pi'esent  practical  completion.  ( .SVe  Figs. 
171,  172.) 

The  Forum  of  Nerva,  between  the 
Forum  of  Augustus  and  that  of  Vespa- 
sian, begun  by  Domitian,  and  dedicated  by 
Nerva  in  97  a.d.,  was  also  called  the 
Forum   Palladium    from    the   temple    of 


usual  thoroughfare  from  the  N.  E.  to  the 
Forum  Eomanum.  It  was  enclosed  by  a 
wall,  which  still  stands,  in  one  place  adjoin- 
ing the  Forum  of  Augustus,  to  its  full 
height  of  nearly  100  ft.  On  the  opposite 
side,  next  the  site  of  the  temple,  a  lower 
piece  of  this  wall  is  standing,  and  in  front 
of  it  the  two  deeply  burijed  Corinthian  col- 
umns known  as  Le  Colonnacce,  whose 
broken  entablatures  project  from  the  wall. 
Its  frieze  is  sculptured  with  high  reliefs  of 
excellent  style  illustrating  Minerva's  care 
for  women's  work.  The  cornice  is  heavy 
and  over-rich.  In  a  niche  in  an  attic  be- 
tween the  two  columns,  stands  a  statue  of 
Minerva.  Between  the  columns  is  a  flat- 
arched  doorway  which  opened  into  the 
Forum  of  Vespasian.     The  eatire  interior 


363 


ROME 


of  tlio  wall  was  oniamriitcd  thus  with  cdI- 
umiis,  entablature,  and  statues. 

The  Forum  of  Tiiajax,  adjoining  the 
Forum  of  Augustus  on  the  N.  W.,  was  the 
largest  and  most  splendid  of  the  Uoinan 


fora,  and  was  bordered  on  two  sides  l)y  a 
double  peristyle.  Except  the  portion  un- 
covered in  the  Piazza  del  Foro  Trajano, 
half  of  which  was  included  in  the  great 
Basilica  UliDia,  its  site  is  almost  entirely 
covered  with  modern  buildings.  (See  Ba- 
siUca  UJpin  and  C'ulumj!  of  Trajan,  also 
Fig.  173.) 

Il  Ges(;  (Jesuits'  church).  Scu  S.  Splr- 
ilo. 

House  of  Livia.  Sit  Paha-i:  af  tlie 
Vmxars. 

House  of  Sali.ust,  occupied  in  suc- 
cession by  Nero  and  .several  later  emperors, 
until  400  A.D.,  and  built  in  the  valley  at 
the  foot  of  the  cliff  of  the  Quirinal  Hill, 
against  which  a  massive  retaining-wall  was 
constructed.  Some  of  the  walls  still  stand 
to  a  height  of  over  70  ft.,  though  much 
has  recently  been  destroyed  for  applica- 
tion to  modern  uses.  There  is  an  open 
court  beneatJi  the  cliff,  on  two  sides  of 
which  buildings  rise  to  a  height  of  four  or 
five  stories.  In  the  middle  of  the  build- 
ings  excavated    there  is   a  largo   circular 


domed  hall,  once  encrusted  with  marble 
and  ornamented  with  niches  for  statues. 
From  beside  this  hall  ascended  a  monu- 
mental staircase  of  marble,  and  another 
winds  about  one  corner  of  the  court  to  the 
top  of  the  clitf,  with  landings 
at  the  several  stories. 

House  of  the  Vestal 
ViUGiNS,  or  Atrium  Vesta^ 
at  the  east  end  of  the  Eonian 
Forum,  behind  the  Temple  of 
\'esta,  of  which  only  the  cir- 
cular foundation  remains.  It 
consisted  of  a  group  of  con- 
structions about  a  rectangular 
colonnaded  court,  measuring 
ri)  ft.  by  -Z-IC)  ft.  The  court 
was  adorned  with  portrait- 
statues  of  some  of  the  chief 
\'estals.  In  the  east  wing  lies 
the  tahl i ii  ii  in  or  drawing- 
room,  a  large  and  beautiful 
room  with  a  floor  of  ojms 
inlaid  patterns  of  porphyry, 
marble,  and  walls  originally 
encrusted  with  marble  ;  from  this  room 
low  doors  with  jambs  and  sills  of  red 
marble  lead  into  the  Ijed rooms  of  the  si.x 
Vestals.  Opposite  the  doors  arched  win- 
dows open  on  two  side-courts.  The  ex- 
cellent construction  and  decoration  point 
to  the  time  immediately  after  Nero's  fire. 
From  one  of  the  rooms  of  this  wing  a  re- 
stored stair  of  thirty-six  steps  leads  to  an 
upper  story,  which  seems  of  later  date  ; 
here  are  remains  of  a  bath.  There  was 
still  a  third  story.  The  south  wing,  dating 
from  the  reign  of  Hadrian,  contains  a 
number  of  small  I'ooms,  some  of  them  fitted 
with  grinding-mills  and  other  utensils, 
and  the  dining  and  audience  halls,  richly 
adorned  with  marble  and  otherwise.  The 
north  wing  is  in  a  ruinous  state,  and  the 
western  angle  is  covered  by  Sta.  ^laria 
Liberatrice. 

The  Lateran  Paea('e  was  in  existence 
before  the  time  of  (!onstantine,  but  was 
enlarged   by    him,    and    subsequently   by 


sect  Hi' 
basalt. 


and 


EOME 


successive  popes,  by  whom  it  was  occupied 
as  the  official  rosideuoe  up  to  tlie  removal 
of  the  papal  scat  to  Aviguou.  It  was  re- 
peatedly destroyed  by  tire,  and  was  sacked 
by  the  northern  barbarians,  but  was  as  often 
rebuilt.  The  last  rebuilding,  under  Sixtus 
v.,  at  the  end  of  the  xvi  cent.,  from  the 
designs  of  Domenico  Fontana,  left  the 
palace  substantially  as  it  exists  to-day, 
covering  much  less  ground  than  formerly. 
Its  plan  is  approximately  a  square  of  250 
ft.  with  three  similar  fa9ades  of  three 
stories,  *  each  with  an  arched  doorway  of 
rustic  masonry  in  the  centre,  within  a 
narrow  portico  of  engaged  Doric  columns. 
The  windows  have  in  the  lower  story  hori- 
zontal caps,  in  the  others  pediments  alter- 
nately triangular  and  segmental.  The 
stories  are  separated  by  pedestal  courses, 
the  angles  groined,  and  the  building  is 
crowned  by  an  enriched  cornice.  The 
apartments  surround  a  square  court,  with 
two  stories  of  open  arcades,  the  arches  en- 
closed within  an  order  of  jiilasters,  Doric 
and  Ionic  respectively,  and  a  third  story 
in  which  the  order  is  of  caryatids  and  the 
intervals  are  filled  with  square  windows. 
The  palace  is  now  occujjied  as  a  museum 
of  antiquities,  and  the  rooms  of  the  first 
and  second  stories  contain  a  most  interest- 
ing collection  of  ancient  sculpture,  sar- 
cophagi, mosaics,  and  jjictures.  (See  also 
>S.  Giovanni  in  Laterano.) 

LiBERiAX  Basilica.  See  Slu.  Maria 
Ma(/giore. 

The  ^[amektixe  Prisoxs  consist  of  two 
chambers  one  above  the  other,  excavated 
out  of  the  rock  of  the  Capitoline  Hill,  and 
lined  with  massive  stone  masonry  without 
mortar.  The  upper  of  these  is  about  50 
ft.  long  and  2'Z  ft.  broad  ;  the  lower  is 
smaller  and  lower  ;  in  both  the  courses  of 
the  masonry  are  overlapped  so  as  to  form 
a  vaulted  roof.  The  two  chambers  are 
connected  by  a  circular  opening  in  the 
floor  of  the  upj)er.  The  upper  chamber 
was  probably  entered  originally  in  the 
same  way,  but  is  now  reached  by  a  flight 


of  stejis  from  the  church  of  S.  Giuseppe 
dei  Falegnanii  overhead,  leading  down  to 
a  modem  door.  These  prisons  are  among 
the  oldest  remains  of  Koman  architecture, 
having  been  begun,  according  to  Livy,  by 
Ancus  iSIartius,  and  enlarged  by  Servius 
Tullius,  whence  they  were  sometimes 
known  as  the  Tullian  prisons.  St.  Peter 
is  believed  to  have  been  confined  here 
under  Nero,  and  the  upper  of  the  two 
chambers  has  been  dedicated  to  him  and 
knoA\Ti  since  the  xv  cent,  as  S.  Pietro  in 
Carcere  {q.  v.). 

Mausoleuj[  of  Augustus,  on  the  Cam- 
pus Martins,  a  tomb  for  his  family  erected 
by  the  emperor  in  28  B.C.  It  was  a  circu- 
lar structure  about  320  ft.  in  lower  diame- 
ter, rising  in  three  stages,  with  a  number 
of  separate  vaulted  burial-chambers  in  the 
interior.  Originally  the  base  of  masonry, 
revetted  with  white  marble,  fl'as  surmount- 
ed by  a  mound  of  earth  planted  with  cy- 
presses, on  the  summit  of  which  stood  a 
bronze  statue  of  Augustus.  Before  the 
mausoleum  were  set  uj)  bronze  tablets,  on 
which  was  inscribed  a  record  of  the  em- 
peror's deeds.  The  copy  of  this  on  the 
cella  wall  at  Ancyra,  is  the  famous  Mouu- 
mentum  Ancyranum.  Access  to  the  re- 
mains of  the  mausoleum  is  through  a  pri- 
vate house  in  the  Via  dei  Pontefici. 
There  are  visible  important  remains  of  the 
cylindrical  substructions,  in  reticulated 
masonry  of  small  blocks  of  tufa,  with 
niches  built  of  brick.  A  large  part  of  the 
remains  is  incorporated  in  the  Teatro  Um- 
berto  I.  Several  of  the  burial-chambers, 
however,  are  still  accessible. 

Mausoleum  of  IIadriax.  See  Castle 
of  Sani'  Angelo. 

Mused  Capitolixo.     See  Capitol. 

Obelisk  of  tueIseum  axd  Serapeum, 
discovered  in  1882  among  the  ruins  of  that 
sanctuary,  near  the  ajise  of  Sta.  Maria 
sopra  Minerva.  It  is  of  Syene  granite, 
I'J^  ft.  long  and  3  ft.  wide  at  the  base,  and 
is  covered  with  hieroglyphs  referring  to 
Kameses  II.     It  has  been  erected   before 


ROME 


the  railway  station,  as  a  momuiifnt  to  tlie 
soldiers  who  fell  at  Dagola,  Ahyssinia,  in 
January,  18bt. 

Obelisk  o*'  the  Laterax,  of  red  gran- 
ite, the  oldest  of  the  obelisks  of  Rome  and 
the  largest  known.  It  was  set  up  by 
Thothmes  IV.,  in  the  xvi  cent.  B.C.,  be- 
fore the  Temple  of  the  Sun  at  Heliopolis, 
Egypt,  brought  by  ship  by  C'onstantine  the 
Great,  and  erected  by  Constantius  in  the 
Circus  Maximus.  On  this  site  it  was 
found  buried  in  the  ground  and  broken  in 
three  pieces,  and  was  re-erected  by  Fon- 
tana  before  the  Laterau  Palace  in  1588, 
under  Sixtus  V,  It  is  covered  with  hiero- 
gln>hs.  The  length  of  the  shaft  is  lOG 
ft.  ;  dimensions  at  the  base,  9  ft,  by  9|  ft.  ; 
total  height,  including  Fontana's  pedestal 
and  cross,  149  ft. 

Obelisk  of  Moxte  Catallo,  See 
Obelisk  of  Sta.  Maria  Maggiore. 

Obelisk  of  the  Piazza  di  Monte 
CiTORio,  brought  by  Augustus  from  Heli- 
opolis at  the  same  time  with  the  obelisk  of 
the  Piazza  del  Poiwlo,  10  B.C.  The  foot 
still  bears  an  inscription  of  dedication  by 
Augustus  to  the  Sun.  The  handsome 
hieroglj-jihs  include  the  cartouche  of 
Psammetichus  I.  In  antiquity,  the  obe- 
lisk was  made  to  serve  as  the  needle  of  a 
sun-dial.  It  fell  and  became  buried,  and 
was  rediscovered  in  W'M.  Benedict  XIV, 
caused  it  to  be  excavated,  and  Pius  VI. 
set  it  up  in  its  present  position  in  1792. 
The  height  of  the  shaft  is  TOJ  ft. 

Obelisk  of  the  Piazza  del  Popolo,  a 
monolith  78^  ft,  high  (now  broken),  which 
stood  originally  before  the  great  temple  at 
Heliopolis,  Egypt.  It  was  brought  to 
Rome  and  erected  by  Augustus  in  10  B.C. 
on  the  spina  of  the  Circus  Maximus.  It 
fell  and  was  broken  into  two  pieces,  which 
were  set  up  in  their  present  position  by 
Foutana,  under  Sixtus  V.,  in  1587,  The 
obelisk  is  of  granite,  and  bears  the  hiero- 
glyphs of  Scti  Menc]ih|>lah  II.,  son  of 
Sesostris  (1195  B.C.),  and  Hameses  III. 
It  stands  on  a  pedestal  in  the  middle  of 


the  square,  with  lionesses  at  the  four 
angles  spouting  water  into  basins.  The 
total  height,  including  the  cross  on  the 
apex,  is  118  ft. 

Obelisk  of  Sta,  Maria  Maggiore, 
erected  under  Sixtus  V,  by  Foutana,  in 
1587.  It  is  of  red  granite,  without  hiero- 
glyphs, and  was  found  broken  in  several 
pieces.  It  is  one  of  a  pair  which  stood  be- 
fore the  jiortal  of  the  Mausoleum  of  Au- 
gustus, and  is  believed  to  have  been 
brought  from  Egypt  by  Claudius.  The 
height  of  the  shaft,  without  the  base,  is 
48i  ft.  The  companion  obelisk  was  erect- 
ed on  Monte  Cavallo  in  178G.  by  Pius  VI. 
It  is  slightly  shorter  than  its  fellow. 

Obelisk  of  the  Trixita  de'  Monti, 
of  red  granite,  with  hieroglyphs.  It  was 
taken  from  the  Gardeusof  Sallust  in  1789, 
under  Pius  VI.,  and  erected  where  it  now 
stands.     The  height  of  the  shaft  is  48  ft. 

Obelisk  of  the  Vatican,  or  of  the 
Piazza  di  San  Pietro,  erected  on  its  pres- 
ent site  by  the  architect  Foutana,  under 
Sixtus  V,,  in  1586.  It  is  a  monolith  of 
red  granite  without  hieroglyphs,  ami  was 
brought  from  Heliopolis  under  Caligula, 
and  set  up  later  in  the  Circus  of  Xero. 
The  height  of  the  shaft  is  S2i  ft.  ;  the 
side  of  the  base  measures  8  ft.  10  iu. 
The  total  height,  with  the  modern  pedes- 
tal and  cross,  is  132  ft. 

Oratory  of  St.  Clement.  See  S. 
Ckinente. 

Palace,     See  also  Palazzo. 

Palace  of  the  C.^sars,  which  in  its 
final  form  occupied  both  summits  of  the 
Palatine  Hill  and  the  depression  between 
them.  The  Palatine  was  the  centre  of  the 
primitive  city  and  the  home  of  the  old 
kings.  Augustus  early  established  his 
residence,  with  his  celebrated  library  and  a 
temple  of  Apollo,  on  the  southwest  slope 
of  the  Palatine,  Tiberius  built  himself 
a  palace  toward  the  north,  and  Xero's 
( I  olden  House  extended  from  the  Pala- 
tine to  the  Esquiliue.  The  Flavian  em- 
jierors  built  their  additions  adjoining  the 


356 


EOME 


House  of  Augustus,  between  tlie  two  siini- 
niits  of  tlie  Piilatiue.  The  stadium,  oust 
of  the  House  of  Augustus,  was  built  by 
Domitiau  and  Hadrian,  and  restored  by 
Septiinius  Severus,  who  added  the  Septizo- 
nium,  a  remarkable  structure,  thougli 
prolial)ly  never,  as  held  by  some,  seven 
stories  high,  at  the  S.  W.  extremity  of  the 
hill.  This  stood  in  jwrt  until  the  xvi 
cent.,  when  it  was  torn  down  by  Sixtus 
y.  Odoacer  and  Thcodoric  occupied  the 
palace,  but  from  the  x  cent,  its  ruins 
began  to  be  invaded  by  monasteries  and 
private  establishments.  The  earliest  im- 
portant excavations  took  place  in  1726, 
and  since  then  work  has  been  carried 
on  with  important  results  by  the  Rus- 
sian Government,  Napoleon  III.,  and 
the  Italian  monarchy.  Among  the  most 
notable  remains  disclosed  are  :  a  part  of 
the  wall  of  primitive  Ivome  in  large  blocks 
of  tufa,  laid  without  mortar,  alternately  in 
headers  and  stretchers  ;  the  substructions 
of  the  Temple  of  Jupiter  Victor,  dedicated 
in  fultilment  of  a  vow  by  Fabius  Maximus  ; 
the  House  of  Livia,  with  exceedingly  fine 
mural  paintings  of  mythological  subjects  ; 
the  great  throne-room  of  the  Flavian  pal- 
ace, with  the  tribune  for  the  throne  and 
niches  for  statues  ;  and  the  pcedagogium, 
or  school  for  imperial  .slaves,  whose  walls 
and  piers  are  covered  with  sgraffiti  scrawled 
by  the  jjupils.  The  walls  and  arches  re- 
maining are  in  part  of  a  highly  imposing 
character. 

Palace  of  the  Conservatori.  See 
Capital. 

Palace  of  the  Lateral.  >See  Lat- 
cran. 

Palace  of  the  Vatican.  See  Vat- 
ican. 

Palazzo  Altemps,  a  spacious  and  in- 
teresting palace  of  which  the  date  and  the 
architect  are  not  known,  though  its  design 
is  attributed  in  jnirt  to  Martino  Lunghi, 
and  in  part  to  Perruzzi.  It  covers  a  sjjace 
measuring  about  140  ft.  in  width  and  215 
ft.  in  depth,  with  facades  on  the  front  and 


rear  of  no  great  interest,  f  I'om  tlie  doorways 
of  which  straight  corridors  lead  to  o])en- 
vaulted  arcades  at  the  two  ends  of  a  large 
court,  about  50  ft.  wide  and  85  ft.  long, 
which  is  the  most  interesting  portion  of 
the  palace.  It  has  two  stories  of  arcades, 
each  faced  with  an  order  of  pilasters,  Do- 
ric below  and  Ionic  above,  but  closed  on 
two  sides  with  windows,  those  of  the  sec- 
ond story  being  raised  on  pedestals  con- 
nected by  a  balustrade,  aiul  the  spandrels 
lilled  with  decoration  in  relief.  The  third 
story,  somewhat  out  of  keejiing  with  those 
below,  has  ill-i^roportioued  windows  in 
square  2>anels. 

Palazzo  Altieri.  one  of  the  largest  of 
the  Roman  jjalaces,  built  in  1670  for  Car- 
dinal Altieri,  from  the  designs  of  Giovan- 
ni Antonio  Rossi,  and  covering  an  area 
about  210  ft.  by  350  ft.  Its  jjlan  includes 
two  great  courts,  of  which  the  principal, 
measuring  about  70  ft.  by  100  ft.,  is  en- 
tered from  three  streets  and  surrounded 
by  vaulted  arcades  faced  with  an  order  of 
grouped  pilasters.  The  other  court,  meas- 
uring about  80  ft.  by  150  ft.,  is  bordered  on 
one  side  by  extensive  vaulted  stables.  The 
huge  fa9ades  are  in  three  stories  of  pedi- 
mented  windows,  with  occasional  quoined 
f)iers  and  a  heavy  bracketed  cornice  ;  that 
on  the  Via  del  Plebiscito  is  raised  in  the 
middle  into  a  two-storied  attic. 

Palazzo  Barberini.  one  of  the  most 
extensive  and  magnificent  of  Roman  pal- 
aces, begun  about  1625  for  the  cardinal 
Francesco  Barberini,  from  the  designs  of 
Carlo  iladerno,  continued  under  Borro- 
mini,  and  finished  in  1630  under  Bernini. 
The  estate  of  which  it  forms  a  part  covers, 
with  its  dependencies  and  gardens,  an  area 
of  something  less  than  ten  acres  of  ground. 
The  palace  itself  is  in  plan  about  280  ft. 
by  200  ft.,  with  a  raised  centre  and  two 
projecting  wings  on  its  principal  front. 
Between  these  wings  the  facade  consists  of 
three  stories  with  three  arcaded  orders  of 
pilasters,  Doric,  Ionic,  and  Corinthian,  in 
seven  bays,  which  in  the  first  story  are  occu- 


857 


ro:me 


pied  by  the  open  arclies  of  a  fine  entrance 
loggia.  The  treatment  of  the  iipjier  stories 
is  similar  to  tliat  of  the  first,  tlie  orders 
being  raised  on  bahistrade  courses  and  the 
arched  ojieniugs  filled  with  windows.  On 
the  wings  and  flanks  of  the  building  the 
principal  lines  of  the  orders  are  continued, 
the  wall  of  the  second  story  being  divided 
into  panels  by  flat  pilaster-strips.  An  en- 
riched corniccione  is  carried  around  the 
whole  building.  The  plan  is  extremely 
elegant,  ingenious,  and  effective.  A  con- 
siderable proportion  of  the  entrance  stoi'y 
is  given  to  an  imposing  vestibule,  divided 
by  rows  of  piers  into  square  vaulted  bays, 
and  conducting  on  three  sides  to  staircases, 
of  which  the  central  one,  a  double  flight 
in  an  elliptical  hall  whose  longer  diameter 
is  about  50  ft.,  leads  to  a  fine  terrace  at 
the  rear  of  the  palace,  on  a  level  with  the 
principal  floor  and  with  the  gardens.  To 
these  a  gentle  inclined  plane  also  conducts, 
opening  from  the  lower  hall  between  the 
two  flights  of  the  oval  staircase  ;  its  long 
perspective  is  terminated  by  a  monumen- 
tal fountain  surmounted  by  a  statue  of 
Apollo,  at  the  distance  of  150  yards  from 
the  palace.  Another  staircase,  in  a  smaller 
oval  at  one  end  of  the  vestibule,  is  a  con- 
tinuous spiral  to  the  toiJ  of  the  build- 
ing, with  a  continuous  ramping  order  of 
coupled  Doric  columns  on  a  balustrade 
following  the  spiral,  a  design  manifestly 
inspired  by  the  celebrated  staircase  of 
Bramante  in  the  tower  of  the  Belvedere 
of  the  Vatican.  The  apartments  of  the 
principal  floor,  arranged  with  perfect  sym- 
metry, are  of  great  splendor.  The  great 
salon  in  the  centre  of  the  jirincipal  front 
is  some  80  ft.  long,  and  nearly  50  ft  wide. 
with  a  ceiling  covered  by  a  fresco  of  Pietro 
da  Cortona.  Behind  it  is  a  graceful  ellip- 
tical vestibule  over  the  great  staircase, 
opening  on  the  terrace  and  gardens.  A 
suite  of  rooms  in  one  wing  of  the  palace 
contains  a  fine  collection  of  pictures,  and 
another  on  the  upper  floor  is  given  to  the 
famous  Barberini  Library. 


Palazzo  Boadile,  a  xvi  cent,  palace 
ascribed  to  Giacomo  della  Porta.  It  has  a 
sim])le  fayade  in  three  stages  of  square- 
headed  oiienings,  the  first  with  a  high 
iloorway  not  in  the  centre  of  the  front ; 
the  low  segmental  -  arched  openings  on 
each  side  are  an  unusual  feature  in  the 
Kenai.s.sance,  if  they  are  original.  The 
second  stage  consists  of  a  range  of  fine 
wiiulows,  on  a  balustrade  course,  with 
horizontal  (^aps  supported  on  consoles,  also 
with  a  mezzanine  storj'  above.  The  stages 
are  sej^arated  by  string  courses,  the  angles 
quoined,  and  the  whole  crowned  by  a 
strongly  projecting  enriched  cornice.  The 
interior  has  a  court  of  which  three  sides 
are  unfinished,  the  fourth  side  having  two 
stories  of  arcades  included  in  orders,  re- 
spectively Doric  and  Ionic. 

Palazzo  Bokgiiese.  perhaps  the  most 
extensive  and  best  known  of  the  Roman 
l^alaces,  begun  in  1590  by  Cardinal  Dezzo, 
a  Spaniard,  under  the  architect  Martino 
Lunghi  the  elder.  A  few  years  after  it 
came  into  possession  of  Cardinal  Borghese, 
who,  becoming  Pope  Paul  V.,  gave  the 
palace  to  his  brothers,  by  whom  it  was 
enlarged  from  the  designs  of  Flaminio 
Ponzio.  Its  plan  is  very  irregular.  The 
principal  front  is  about  130  ft.  long,  on 
the  Via  Fontanella  ;  that  on  the  Piazza, 
originally  about  200  ft.,  was  lengthened 
by  the  extension  of  the  palace  to  the  Via 
Ripetta  to  not  less  that  400  ft.  There  is 
also  a  short  frontage  on  the  last-named 
street.  The  exterior  is  of  little  interest ; 
the  two  princi2ial  fa9ades  are  in  three 
stages,  each  including  a  principal  story 
and  a  mezztinine,  with  a  central  doorway 
uiuler  a  Doric  portico,  and  an  Ionic  por- 
tico enclosing  the  window  above,  the 
angles  of  the  fronts  emphasized  by  quoins 
and  the  fa9ades  crowned  by  an  enriched 
and  effective  corniccione,  with  a  broad 
frieze,  in  which  are  the  windows  of  the 
ujiper  mezzanine.  The  small  front  on  the 
liipetta  (that  portion  of  the  building  hav- 
ing only  the  height  of  the  first  stage  of 


35R 


ROME 


the  Ejreater  fronts)  is  of   more   ohiljorate 
architecture,  with  a  ])ortico  of  eouph>(l  col- 
umns across  the  whole  frout,  and  a  loggia, 
above.     The  interior  contains  a 
vast  number  of  rooms,  large  ami 
small,  of  which  the  greater  num- 
ber surround  a  noble  court  meas- 
uring G8  ft.  by  90  ft.,  enclosed 
by  two  stories  of  vaulted  arcades, 
the  arches  springing  from  blocks 
of  entablature  over  couiiled  Doric 
and   Ionic   columns.     On   three 
sides  of  the  court  these  arcades 
carry   a   third   story,  with  win- 
dows ;  on  the  fourth  side  the  sec- 
ond arcade  is  open  both  to  front 
and   rear,    and  gives  a  view  of 
.spacious   gardens  beyond,    witli 
three  fountains  on  the  enclosiuL; 
wall.       A   long   suite   of   apart- 
ments on  the  ground -floor  are 
occujjied  by  what  is  perhaps  the   largest 
and  finest  private  collection  of  pictures  in 
Europe.     {See  Fig.  17Jf.) 

P.\LAZZO  BuosrcoMPAGNi  (or  Sora).  a 
large  palace  built  for  Cardinal  Fieschi  at 
the  beginning  of  the  xvi  cent.,  of  which 
the  design  is,  though  with  some  uncer- 
tainty, attributed  to  Bramante.  Its  plan 
is  nearly  a  square  of  138  ft.,  enclosing  an 
oblong  court  about  30  ft.  by  GO  ft.,  sur- 
rounded by  broad  arcaded  corridors.  It 
has  air  imposing  facade  in  three  stages, 
the  first  with  a  central  arched  doorway 
enclosed  within  an  engaged  portico  of 
Doric  pilasters  with  entablature,  and 
flanked  by  five  windows  of  similar  design 
on  each  side.  The  windows  of  the  second 
storv,  also  round  -  arched,  are  enclosed 
within  Corinthian  pilasters  carrying  en- 
tablatures and  pediments  alternately  tri- 
angular and  segmental.  The  third  stage 
has  a  range  of  square-headed  windows 
with  horizontal  caps,  and  small  square 
windows  close  under  the  cornice.  The 
extremities  of  the  fa9ade  are  marked  by 
pavilions  of  slight  jirojection  with  an  order 
of  flat  pilasters  on  each  stage,  Doric,  Ionic, 


and  Corinthian  respectively,  and  these 
pavilions  are  carried  above  the  flat  roof 
as  small  si|iiar('  lowers  witli  angle-quoins 


Fig.  174— Rome,  Pal.  Borghese. 

and  a  single  plain  square  window  in  each. 

Palazzo  Caffarelli.  See  Palazzo 
Yidoni. 

Palazzo  Chigi,  situated  on  the  Piazza 
Colonna,  and  built  about  1562  from  the 
designs  of  Giacomo  della  Porta.  It  has  a 
simple  facade  in  three  stages,  of  which 
the  first  is  a  low  basement  having  win- 
dows with  horizontal  caps ;  the  second 
has  a  range  of  high  windows  with  i)edi- 
mented  caps  alternately  triangular  and 
segmental,  and  a  mezzanine  of  square 
openings  above.  The  main  cornice  is 
over  the  mezzanine,  the  fourth  story  be- 
ing treated  as  an  attic. 

Palazzo  Cicciaporci.  A  noticeable 
palace,  built  about  1520  from  the  designs 
of  Giulio  Romano.  Its  fayade,  about  112  ft. 
in  length,  is  in  three  stages,  of  which  the 
first  is  of  rustic  masonry  with  a  high  cen- 
tral arched  doorway  and  three  low  square 
openings  on  each  side  for  shops,  covered 
by  horizontal  arches,  and  with  a  bearing- 
arch  above  like  that  of  the  doorway,  en- 
closing small  mezzanine  windows.  The 
wall  of  the  second  and  third  stories  is 
divided  into  square  panels,  those  of   the 


369 


ROME 


second  story  occupying  the  intervals  of 
a  badly  developed  order  of  pilasters,  and 
containing  square  windows  with  horizon- 
tal caps.  Over  the  third  story  is  a  pro- 
jecting cornice  with  modillions,  and  above, 
an  attic  consisting  of  an  open  colonnade 
divided  by  ilat  pilasters  into  groups,  each 
of  four  openings. 

Palazzo  della  Consult!.  This  pal- 
ace, now  occupied  as  the  Ministry  for 
Foreign  Affairs,  was  built  about  1730  for 
Clement  XII.,  from  the  designs  of  Eerdi- 
nando  Fuga.  It  has  a  trapezoidal  plan  of 
much  ingenuity,  with  a  principal  frontage 
of  about  220  ft.,  and  a  depth  of  about  2.30 
ft.  The  principal  feature  is  a  rectangular 
court  TU  ft.  by  82  ft.  with  corridors  lead- 
ing from  the  centre  of  each  of  its  sides  to 
the  four  facades.  The  architecture  of  the 
court  follows  that  of  the  fa9ades,  the  wall 
being  divided  into  two  high  stages,  each 
with  a  principal  and  mezzanine  story,  and 
crowned  by  a  cornice  and  frieze  with  tri- 
glyphs,  with  a  balcony  and  low  attic  above. 
TJie  front  is  of  vigorous  though  somewhat 
baroco  design,  divided  into  three  vertical 
compartments  with  a  doorway  in  each, 
that  ill  the  centre  flanked  by  detached 
Doric  columns  supporting  blocks  of  en- 
tablature, and  a  broken  pediment  with 
sitting  figures.  This  front  is  in  two  stages  : 
the  lower  includes  a  high  basement  story 
and  mezzanine  ;  the  upper  has  a  range  of 
higli  windows  witli  consoles  carrying  seg- 
mental pediments,  the  windows  of  both 
stories  being  enclosed  in  square  panels. 
The  angles  of  tlie  front  and  the  limits  of 
the  central  division  are  marked  in  the  first 
story  by  rustic  quoins,  in  the  second  by  Co- 
rintliian  pilasters,  and  the  whole  is  crownied 
by  a  heavy  projecting  cornice  on  consoles, 
between  which  are  square  windows. 

Palazzo  Coksixi.  This  great  palace, 
of  which  the  original  design  iuis  been  at- 
tributed to  Bramante,  was  built  by  the 
family  of  Piario,  presumably  in  the  xvi 
cent.,  and  bought  in  1T32  by  Cardinal 
Corsiui,  a  nephew  of  Clement  XIL,  who 


made  extensive  changes  and  adilitions  to 
it  from  the  designs  of  Ferdinando  Fuga. 
Its  jjlan  is  a  rectangle  measuring  about 
3-40  ft.  on  the  street,  and  having  a  depth 
of  1.5G  ft.  Its  long  fa9ade  is  monotonous 
and  uninteresting.  Three  great  arches  in 
the  centre  open  into  a  vaulted  vestibule 
44  ft.  Avide,  leading  to  the  great  double 
staircase  occupying  the  two  long  sides  of  a 
hall  44  ft.  by  80  ft.,  on  each  side  of  which 
is  a  square  court  (Jo  ft.  by  80  ft.,  with 
vaulted  arcades  on  front  and  rear,  the 
latter  open  and  continued  along  the  whole 
length  of  the  palace,  interrupted  only  by 
the  grand  staircase  in  the  centre,  and 
opening  on  a  great  i-ectangular  court,  be- 
yond which  are  extensive  gardens  running 
up  the  slope  of  the  Janieulum.  Many  of 
the  ajMrtments  of  the  principal  story  are 
occupied  by  a  large  and  fine  collection  of 
pictures. 

Palazzo  Costa.  This  xvi  cent,  pal- 
ace, probably  from  Peruzzi's  designs,  has 
a  fine  facjade  about  C3  ft.  long,  in  two 
principal  stages  and  an  attic.  The  first 
story  is  of  coursed  masonry  vigorously 
rusticated,  with  a  central  square  door  and 
broad  square  openings  for  two  shoji-fronts 
on  each  side,  combined  with  a  row  of  mez- 
zanine windows.  The  second  story  has 
an  order  of  grouped  Doric  pilasters  with 
triglyphs  in  the  frieze  and  pedimented 
windows  in  the  intervals  on  a  jiedestal 
course.  The  high  attic  is  divided  by  pi- 
lasters, the  intervals  panelled,  with  square 
plain  wiiulows. 

Palazzo  Douia  Pamfili,  one  of  the 
largest  and  most  magnificent  of  the  Roman 
})alaces,  covering  an  area  somewhat  more 
than  2U0  ft.  wide  and  330  ft.  deep,  with 
a  front  on  the  Corso,  another  on  the  Pi- 
azza del  Collegio  Romano,  and  a  third  on 
the  Piazza  di  Venezia.  From  the  Corso 
one  enters  directly  a  spacious  and  ele- 
gant court  measuring  about  75  ft.  by  85 
ft.,  surrounded  by  two  stories  of  vault- 
ed arcades  with  Doric  and  Ionic  columns. 
From  the  side  the  entrance  is  by  a  curi- 


360 


ROME 


ously  viiultcd  vestibule,  designed  by  Hor- 
roniini  or  by  Bernini,  with  semicireiil;ir 
ends,  from  which  a  In-oad  staircase  as- 
cends to  the  ujjper  floors.  The  interior 
contains  many  fine  apartments  sumptu- 
ously adorned,  of  which  an  extensive  suite 
is  occupied  by  one  of  the  largest  private 
collections  of  pictures  in  Rome.  The 
fapades,  of  somewhat  monotonous  arclii- 
tecture,  are  the  work  of  Valvasori  and 
Pietro  da  Cortona.  The  sjDacious  stables, 
in  three  vaulted  aisles  supported  by 
Tuscan  columns,  deserve  notice. 

Palazzo  Farnese.  This  famous  pal- 
ace was  begun  in  1530  by  the  cardinal 
Alexander  Parnese,  afterward  Paul  111., 
from  the  designs  of  Antonio  Sangallo 
the  younger.  It  has  a  jierfectly  regular 
rectangular  plan,  measuring  187  ft. 
in  front,  and  245  ft.  deep.  Its  prin-  ^ 
cipal  fa9ade  is  characterized  by  a 
noble  simplicity  of  design.  The  long 
front  is  unbroken  Ijy  any  vertical  di- 
visions or  by  any  groujiing  of  win- 
dows. The  unusual  height  of  90  ft.  ^y 
is  divided  into  three  stages,  of  which  f\ 
the  first  has  a  central  arched  door-  I  •, 
wa}'  in  rustic  work,  flanked  by  six  ; 
windows  on  each  side  with  horizontal 
caps,  and  is  crowned  by  a  strongly 
profiled  cornice.  The  second  story 
has  a  range  of  rectangular  windows 
on  a  IjiUustrade  course,  flanked  by  *■ 
Corinthian  three  -  quarter  columns 
with  entablature  and  jiediments,  the 
three  central  ones  grouped  together. 
The  stories  are  separated  by  friezes 
and  cornices  bearing  balustrade- 
courses.  The  third  story  jiresents  an 
unbroken  range  of  thirteen  round- 
arched  windows,  with  Ionic  three- 
quarter  columns  carrying  broken 
pediments.  The  angles  of  the  front 
are  emphasized  by  quoins,  and  the  fa- 
9ade  is  crowned  by  a  magnificent  cornic- 
cione.  This  great  composition  is  one  of  the 
most  celebrated  and  most  admired  in  Italy, 
and  not  without  justice,   for   though   its 


faults  are  obvious  —  the  crowding  of  parts 
at  the  centre  and  at  the  angles,  the  flatness 
of  the  central  motive  in  the  second  story, 
and  the  surprising  ugliness  of  the  windows 
in  the  third — yet  the  simplicity  and  breadth 
of  the  design,  the  grandeur  of  its  scale,  the 
noble  spaces  of  wall  above  the  windows,  and 
the  unrivalled  cornice,  are  sufficient  to 
produce  an  effect  of  majesty  which  scarce- 
ly belongs  in  the  same  degree  to  any  other 
example  of  domestic  architecture.  The 
other  elevations  follow  the  lines  of  the 
principal  front,  except  that  in  the  rear  the 
central  portion,  about  08  ft.  broad,  is  given 
in  each  story  to  an  arcade  of  three  arches, 
faced  with  orders  of  columns,  Doric  and 
Ionic,  and  Corinthian  jnlasters.  AVith  this 
magnificent  exterior,  the   interior  is  fully 


-its- 


Fig.  175. —  Rome,  Pal.  Farnese,  Loggia. 


in  keeping.  From  tlu^  central  doorway 
of  the  front,  a  three-aisled  vestibule  37 
ft.  wide  and  43  ft.  long,  divided  by  two 
lines  of  Doric  columns  on  pedestals — the 


ROME 


central  aisle  covitcmI  with  a  pauclkMl  ami 
richly  decorated  barrel-vault,  the  side-walls 
divided  by  lialf-coluiuus  with  niches  be- 
tween— leads  to  an  interior  court  8S  ft. 
sqnare,  surrounded  by  two  stories  of  Ro- 
man arcades — of  which  those  of  the  first 
story  are  ojicn  on  all  sides,  and  those  of 
the  second  on  two — under  a  Doric  order 
on  the  first  story,  and  Tonic  on  the  second. 
The  tliird  story  wall  is  faced  with  a  corre- 
sponding order  of  groujjed  Corinthian  pi- 
lasters, the  intervals  occupied  by  beautiful- 
ly composed  windows  with  pediments. 
AH  the  details  of  this  court  are  of  the 
greatest  elegance.  Many  of  the  ajxirt- 
ments  of  the  palace,  the  smaller  as  well  as 
the  larger,  are  remarkable  for  the  richness 
of  their  panelled  ceilings,  and  the  gallery, 
a  fine  room  alxnit  :21  ft.  wide  and  G.3  ft. 
long,  is  decorated  with  a  series  of  frescoes 
of  mythological  subjects  by  Anuibale  Ca- 
racci.  The  work  begun  by  Sangallo,  and 
carried  forward  by  him  for  more  than  fif- 
teen years,  he  was  not  permitted  to  finish. 
In  154G  the  exterior  walls  were  finished  up 
to  the  cornice,  and  two  stories  of  the  court 
were  nearly  complete.  But  the  pope  re- 
solved to  establish  a  competition  of  archi- 
tects for  the  continuance  of  the  work. 
Projects  were  accordingly  received  from 
Sangallo.  ^Michael  Angelo,  Vasari,  Sebas- 
tian del  I'iombo,  and  Perino  del  Vaga. 
The  work  was  given  to  Michael  Angelo, 
who  adtled  the  great  cornice,  and  whose 
connection  with  it  continued  until  his 
death  ;  although  it  has  been  maintained 
that  the  credit  for  the  completion  of  the 
palace  belongs  rather  to  Vignola,  who  cer- 
tainly came  into  control  after  ilichael  An- 
gelo's  death.  A  part  of  the  fayade  in  the 
rear  was  the  work  of  (iiacomo  della  Porta. 
{See  Fig.  17S.) 

Palazzo  Fauxesixa.  or  Villa  Farne- 
sina.  This  famous  palace,  one  of  the  most 
interesting  works  of  J3aldas.sare  Peruzzi, 
has  rather  the  character  of  a  villa,  being  of 
coni]iaratively  small  dimensions,  and  staiul- 
ing  detached  in  spacious  pleasure-grounds 


iiu  tlic  river  bank.  It  was  liuilt  in  l.'iOR 
as  tiie  residence  of  the  renowned  banker 
Agostino  C'higi,  the  munificent  patron  of 
letters  and  art,  and  friend  of  Leo  X.  Its 
plan  is  a  rectangle  of  nhoat  117  ft.  by  88 
ft.,  the  principal  front  having  a  recessed 
centre  between  two  projecting  wings.  It 
is  in  two  stages,  each  with  an  order  of 
Doric  pilasters  and  plain  entablature 
raised  on  pedestal  courses.  In  the  first 
storv  the  five  intercolumniations  of  the 
central  portion  of  the  front  were  once  an 
ojien  arcaded  loggia,  but  are  now  closed  by 
glazed  sashes.  In  the  projecting  wings 
and  in  the  second  story  the  bays  have  each 
a  .square  -  headed  window  with  moulded 
architraves  and  horizontal  cap.  The  up- 
])er  order  has  a  broad  frieze  with  small 
windows,  l.ietween  which  are  reliefs  of  a 
plaNlul  character,  and  an  enriched  cor- 
nice. The  chief  fame  of  this  palace  at- 
taches to  the  interior,  which  contains  sev- 
eral large  and  fine  apartments  of  which 
the  decoration  is  of  the  most  remarkable 
character.  The  principal  rooms  were 
adorned  with  frescoes  by  Raphael.  (Jiulio 
b'omano,  Sebastiano  del  Piombo,  Daniele 
da  \'ol terra,  and  Annibale  Caracci.  Tiie 
long  entrance-hall,  formerly  an  open  log- 
gia, bears  on  the  lunettes  of  the  ceiling  a 
series  of  paintings  designed  by  Raphael, 
and  executed  for  the  most  part  by  his 
pupils,  representing  the  story  of  Cupid 
antl  Psyche,  and  the  long  room  opening 
from  the  end  of  the  entrance-hall  contains 
one  of  the  most  celebrated  of  Raphael's 
frescoes,  the  Triumph  of  Galatea.  The 
second  story  has  two  great  rooms  painted 
by  (iiulio  Romano.  Sodoma.  and  Peruzzi. 
Palazzo  di  Fiuexze,  formerly  the 
official  residence  of  the  Tuscan  ambassa- 
dor, built  by  Pope  Julius  III.  upon  the 
Ijasis  of  an  older  structure  about  1.5.")0,  from 
designs  attributed,  though  without  cer- 
tainty, to  Vignola.  Its  plan  is  irregular, 
with  three  frontages,  of  which  the  princi- 
]ial.  though  the  shortest,  is  about  112  ft. 
Ion"-.     There  is  an  interior  court  some  48 


ROME 


ft.  by  0")  ft.,  with  vaulted  arcades  on  three 
sides,  eoniposed  of  ri)und  arches  supported 
on  cohiinus  with  couiposite  capitals,  and  a 
hirge  enclosed  garden,  toward  which  the 
buildings  jDreseut  a  fine  fa9ade  three  stories 
high,  with  the  centre  of  the  first  two  occu- 
]iied  in  each  case  by  an  open  loggia  with 
three  arches  under  an  order  of  three-quar- 
ter columns,  Ionic  below  and  Corinthian 
above,  tlie  first  loggia  vaulted,  the  second 
with  a  flat  ceiling  panelled  and  richly  dec- 
orated ;  the  walls  also  decorated  with 
much  elaborateness. 

Palazzo  Giraud.  It  was  built  about 
1.50G  from  the  designs  of  Brainante,  for  the 
Cardinale  da  Corneto.  Its  jilan  is  a  rec- 
tangle of  some  135  ft.  on  the  front  and  180 
ft.  deep,  enclosing  a  large  square  court 
surrounded  on  the  first  story  by  vaulted 
arcades.  The  fagade  is  of  rustic  masonry 
in  three  stages,  the  first  a  plain  basement 
with  a  weak  central  doorway  of  later  de- 
sign and  three  small  square  windows  on 
either  side.  The  two  upjx'r  stories  are 
each  faced  with  an  order  of  wide-spaced 
coupled  Corinthian  pilasters,  occupied  in 
the  second  story  by  round-arched  windows 
with  pilasters  and  horizontal  cap.  and  in 
the  third  story  by  two  ranges  of  insignifi- 
cant windows. 

Palazzo  Laxte,  an  interesting  palace 
of  which  the  date  and  the  architect  are 
uncertain,  but  which  is  believed  to  hare 
been  built  by  Leo  X.  early  in  the  xvi  cent., 
for  his  brother  Giuliano  de'  Medici,  jjer- 
ha]is  from  the  designs  of  Bramante,  and 
carried  out  by  Sansovino.  It  has  a  simple 
but  fine  facade  about  120  ft.  long,  in 
three  stages  separated  by  .slight  moulded 
cornices.  The  openings  are  alike  through- 
out, except  for  variations  in  detail,  and 
all  fire  square-headed,  with  flat  caps  and 
consoles,  except  that  in  the  third  stage 
is  an  upper  half-story  of  square  windows 
framed  in  simjde  mouldings.  On  each 
side  are  three  windows  of  similar  design 
to  the  doorway,  with  basement  windows 
under   them.     Under   the  roof    is  a  rich 


and  graceful  cornice  above  a  sculptured 
frieze.  The  interior  has  a  fine  oblong 
coui't,  ajiproached  through  an  arched  ves- 
tibule whose  walls  are  divided  by  niches 
and  panels,  and  surrounded  on  three  sides 
by  two  stories  of  vaulted  arcades,  the  arch- 
es springing  from  Doric  and  Ionic  columns. 
At  one  end  is  a  monumental  fountain  sur- 
mounted by  a  group  of  antique  sculpture. 

Palazzo  Linotte,  sometimes  called  the 
little  Farnesina,  a  small  but  interesting 
})alace,  whose  history  is  unknown,  and 
wliose  design  has  been  conjectu  rally  as- 
cribed to  Bramante,  to  Michael  Angelo, 
and  with  more  probability  to  Baldassare 
Peruzzi.  The  facade  is  in  three  stages, 
the  first  of  coursed  rustic  masonry  with  a 
round-arched  central  doorway  and  win- 
dows. In  the  two  ui)per  stories  the 
windows  are  square-headed,  those  of  the 
second  story  having  pedimented  caj)s  alter- 
nately triangular  and  segmental.  The 
fleur-de-lys  of  the  Farnese  family  orna- 
ments the  belts  between  the  stories,  and 
the  window  sills  are  continued  as  string 
courses  across  the  front.  The  angles  of 
the  two  upper  stories  are  quoined,  and  the 
front  is  crowned  by  a  good  cornice  with 
modillions  and  dentils.  In  the  interior  a 
vestibule  with  an  order  of  pilasters  on  the 
side  walls  and  a  panelled  barrel-vault  leads 
to  a  small  but  elegant  court,  open  toward 
the  rear  above  the  first  story,  of  which  the 
three  stories  are  treated  in  a  style  of  great 
elegance  with  open  loggie,  arcaded  below 
and  colonnaded  above. 

Palazzo  Massiju,  the  luunc  of  two  pal- 
aces built  during  the  first  half  of  the  xvi 
cent.,  by  the  marquis  Domenico  Massimi, 
for  his  two  sons,  on  the  site  where  his 
ancestor  Pietro  Massimi  had,  in  1455,  es- 
tablished the  first  Eoman  printing-press. 
The  buildings  were  begun  by  Baldassare 
Pernzzi  after  the  sack  of  Eome  in  1537  by 
the  Constable  de  Bourbon,  and  were  the  last 
important  work  of  that  architect,  who 
died  in  15.'30,  before  its  completion.  The 
fa9ades  fitted  the  curving  line  of  a  nar- 


ROME 


row  street,  and  have  together  a  length  of 
about  lUo  ft.,  of  which  about  90  ft.  be- 
longs to  tlie  hirger  palace.  Of  this  front, 
which  is  of  rustic  work,  most  of  the 
lower  story  is  given  to  au  open  vestibule 
behind  an  order  of  JJoric  columns,  con- 
tinued at  the  ends  in  pilasters.  Above 
tlie  entaldature  of  this  order  is  a  balus- 
trade course  bearing  a  range  of  rectangu- 
lar windows  with  horizontal  caps  sup- 
ported on  consoles.  Two  stories  of  small 
oblong  windows  follow,  and  then  an  en- 
riched corniccione.  The  interior  is  in- 
teresting from  the  ingenuity  of  its  j)lan, 
and  from  the  extreme  elegance  and  beauty 
of  its  details  and  decoration.  From  the 
curved  vestibule  of  the  front,  a  master- 
piece of  decorative  design,  a  straight 
vaulted  corridor  leads  to  au  oblong  court 
about  30  ft.  by  35  ft.,  with  a  vaulted  colon- 
nade at  each  end.  and  the  order  carried 
around  the  sides  by  jjilasters,  over  wliicli  is 
a  second  story  with  au  order  of  Ionic  pi- 
lasters with  a  decorated  frieze,  and  win- 
dows in  the  intervals.  From  the  front 
colonnade  a  stairway  ascends  to  the  prin- 
cipal story,  where  at  the  end  of  the  court 
is  an  open  loggia,  with  au  Ionic  colonnade. 
The  ])rincipal  apartments  of  this  floor  are 
interesting  and  valuable  exam])les  of  tlie 
most  refined  and  artistic  Renaissance 
decoration ;  the  doors  of  carved  oak, 
framed  in  white  marble,  the  ceilings  of 
oak  and  pine,  with  carved  panels  decora- 
ted with  gold  and  color,  the  walls  adorned 
with  broad  friezes  of  varied  character,  are 
characteristic  of  the  best  period  of  the  Re- 
naissance. The  smaller  palace  partakes 
of  the  general  character  of  the  larger,  but 
with  less  richness  and  elaborateness  of  or- 
nament ;  its  jilaiu  fa9ade  continues  the 
features  of  the  larger  palace,  but  without 
the  order  in  the  lower  story,  the  rustica- 
tion, or  the  enriched  cornice.  'I'lie  court 
has  a  picturesque  loggia  at  the  farther 
end. 

Palazzo  Mattki  di  (iiovi;,  a  late  Re- 
naissance  palace   built    in    1(J21    for   the 


duke  Asdrubale  ^lattei,  from  the  designs 
of  Carlo  Maderuo,  and  interesting  mainly 
from  the  extent  and  character  of  its 
sculptural  adoruments.  It  has  two  fa- 
(;ades  of  nearly  equal  length  (about  130  ft.), 
of  which,  however,  one  is  extended  by  ac- 
cessory buildings.  From  each  of  these 
a  corridor  leads  to  the  central  court, 
measuring  about  40  ft.  by  50  ft.,  of  which 
one  end  is  bounded  by  a  three-arched 
vaulted  loggia,  repeated  on  the  second 
story,  and  with  a  third  story  of  blind 
arches,  the  arches  in  each  story  being  in- 
cluded within  au  order  of  pilasters.  At 
the  opposite  end  of  the  court,  this  archi- 
tecture is  repeated  in  a  single  story,  over 
which  is  a  terrace,  and  through  the  cen- 
tral arch  of  which  access  is  had  to  a  sec- 
ond court,  larger  but  plainer  than  the 
first.  Statues  stand  on  pedestals  against 
tlie  pilasters  of  the  first  court,  and  the 
side  walls,  which  have  little  relation  to  tlie 
ends,  are  hung  like  a  museum  with  a  mul- 
titude of  ancient  bas-reliefs,  medallions, 
busts,  and  sculi)tured  ornaments  between 
tlieir  many  windows.  The  vestil)ule.  log- 
gie,  and  staircase  are  utilized  in  like  man- 
ner. The  principal  rooms  are  painted 
with  frescoes,  and  the  staircase  landings 
are  covered  by  low  domes  with  stucco  dec- 
orations. 

Palazzo  Mattei  Paganica.  Ludovico 
^lattei  built  this  palace  in  the  middle  of 
the  xvi  ceuturv.  Its  design  has,  though 
with  some  uncertaintv,  been  attributed  to 
Vignola.  It  has  a  regular  plan,  covering 
a  square  of  about  90  ft.,  with  a  straight 
corridor  leading  from  the  centre  of  the 
facade  to  a  rectangular  court,  entered 
under  a  vaulted  arcade  at  the  end,  over 
which  is  an  open  loggia  with  a  flat 
]ianelle(l  ceiling  richly  decorated.  From 
the  farther  end  of  the  court  opens  on  each 
side,  like  a  transept  arm,  a  vaulted  loggia. 
The  plain  fapade,  with  four  ranges  of 
square-headed  openings  and  a  central 
door,  has  quoined  angles  and  au  enriched 
frieze  and  cornice. 


SM 


ROME 


Palazzo  di  Monte  Cavallo,  or  del 
Quirinale,  formerly  a  summer  palace  of 
the  jjopes,  ou  the  Quiriual  llill,  now  the 
official  residence  of  the  king  of  Italy. 
The  buihlings  are  of  immense  extent,  and 
though  the  work  of  successive  periods,  tlie 
original  summer  palace  of  15-40  having 
been  enlarged  repeatedly  by  various  popes 
and  under  various  architects,  among  whom 
were  Donienieo  Fontana,  Carlo  JIaderno, 
Lorenzo  Bernini,  and  Ferdinando  Fuga, 
they  preserve  a  substantial  symmetry  of 
plan  and  uniformity  of  design.  The  plan 
includes  a  rectangular  court  1-40  ft.  wide 
and  3'Zo  ft.  long,  enclosed  on  three  sides 
by  a  vanlted  arcade  in  the  intervals  of  an 
order  of  Doric  pilasters,  above  which  is  a 
single  story  of  square  windows  witli  hori- 
zontal caps.  At  the  end  of  the  great 
court  a  recessed  portico  of  five  arches, 
from  which  opens  a  spiral  oval  staircase 
with  a  ramping  order  of  columns,  gives 
access  to  the  apartments  of  state,  which 
are  numerous  and  well-ai^pointed,  though 
of  no  special  architectural  interest.  They 
are  also  approached  at  the  other  extremity 
of  the  court  by  an  imjiosing  double  stair- 
case, built  by  Flaminio  Ponzio,  which 
leads  to  the  richly  decorated  Sala  Eegia, 
a  hall  150  ft.  long,  and  the  adjoining  Ca- 
pella  Paolina,  all  additions  of  Paul  V. 
The  exterior  architecture  is  simijle  and 
regular,  though  somewhat  ineffective.  The 
principal  front  on  the  Villa  Pia  is  in  two 
stages  with  an  arched  doorway  enclosed  in 
two  rustic  pilasters,  the  principal  story 
presenting  a  long  range  of  windows  with 
pediraented  caps,  on  a  balustrade  course. 
Above  tlie  original  cornice  two  additional 
stories  have  been  built,  quite  out  of  keep- 
ing with  those  below.  Behind  the  joalace 
are  extensive  gardens. 

Palazzo  di  Moxte  Citorio.  or  Curia 
Innocenziana,  a  large  palace  begun  in 
1G50,  by  Prince  Ludovisi,  from  the  de- 
signs of  Bernini,  and  bought  in  1697,  after 
a  long  discontinuance  of  the  works,  by  In- 
nocent XII.,  who  finished  it  under  the  di- 


rection of  Carlo  Fontana,  for  the  use  of 
the  higlier  courts  of  law,  and  gave  it  his 
name.  The  plan  is  ciiielly  interesting  from 
its  central  feature,  a  salacious  vaulted  vesti- 
l)ule  divided  into  three  aisles,  and  leading 
directly  to  a  fine  court  118  ft.  wide  and 
130  ft.  deep,  terminating  in  a  great  semi- 
circle, around  which  is  carried  a  broad 
corridor.  This  court  has  been,  since  the 
occupation  of  Kome  as  the  capital  of  the 
kingdom,  the  seat  of  the  Italian  Parlia- 
ment, a  provisional  building  of  wood  hav- 
ing been  constructed  in  1871  filling  its 
semicircular  portion.  Tlie  long  fagade 
is  of  brick  in  five  vertical  divisions,  of 
which  the  central  one  has  a  portico  of 
four  Doric  three-quarter  columns  with  en- 
talilature  and  balustrade,  the  tliree  inter- 
vals enclosing  doorways.  On  each  side  of 
the  central  division  the  line  of  the  front 
bends  backward.  This  front  is  in  three 
stages.  A  strongly  moulded  cornice  sejia- 
rates  the  first  and  second  stages,  aliove 
which  the  vertical  divisions  are  marked  by 
Corintliiau  pilasters  carrying  a  full  Co- 
rinthian entablature  with  small  windows 
in  the  frieze. 

Palazzo  Muti  -  Papazzurri.  Of  the 
two  palaces  known  by  this  name  the  larger, 
situated  in  the  Piazza  della  Pilotta,  was 
built  near  the  end  of  the  xvii  cent,  from 
the  designs  of  Mattia  de'  Rossi,  a  pupil  of 
Borromini.  It  has  an  irregular  jDlan  cov- 
ering an  area  about  85  ft.  by  160  ft.  The 
front  shows  two  narrow  advancing  wings 
embracing  a  deep  court,  which  is  closed  in 
the  lower  story  by  a  wall,  where  the  arched 
entrance  is  covered  by  an  engaged  portico 
of  four  Tuscan  columns,  flanked  by  pilas- 
ters, with  a  balustrade  adorned  with  stat- 
ues. The  simple  fa9ades  have  three  rows 
of  windows  with  caps,  pedimented  below 
and  plain  above,  and  a  bracketed  cornice 
with  balustriide  and  statues.  The  court, 
level  with  the  street,  is  lined  with  stone 
benches,  and  raised  at  the  rear  into  a  plat- 
form witli  a  balustrade  and  steps  leading 
to  a  fountain  at  the  back,  and  a  door  on 


365 


ROME 


either  liaud.  A  vaulted  transverse  corri- 
dor seijurates  the  pUui  into  two  iiortions, 
of  which  the  rear  portion  coutuius  the 
great  staircase  and  extensive  stables. 

Palazzo  Xegkoxi,  a  large  palace  of 
siini)le  design,  built  in  laO-i  from  the  de- 
signs of  Bartoloinmeo  Ammanati.  Its 
plan  is  regular  and  forms  a  square  of  some 
112  ft.,  with  a  central  court  about  3C  ft. 
square,  surrounded  by  arcades,  and  a  wing 
in  the  rear.  The  fa(;ade,  with  quoined  an- 
gles and  a  light  modillioued  cornice,  is  in 
three  stages,  the  lowest  having  a  central 
doorway  with  moulded  architraves  and  a 
horizontal  cap  with  consoles,  and  four  win- 
dows of  similar  design  on  each  side.  The 
second  stage  has  a  range  of  similar  win- 
dows on  a  balustrade-course,  with  a  mez- 
zanine story  of  square  windows  above  ; 
the  third  has  simple  rectangular  windows 
with  moulded  architraves. 

Palazzo  Niccolixi.  a  small  palace 
built  in  1.526,  from  the  designs  of  .Sanso- 
vino,  with  a  skilfully  arranged  irregular 
plan,  its  frontage  being  inconsiderable,  but 
with  a  depth  of  18.5  ft.,  and  a  breadth  at 
the  rear  of  about  SO  ft.  A  long  corridor 
leads  from  the  centre  of  the  front  to  a  very 
elegant  square  court  with  a  broad  vaulted 
loggia  at  each  end,  faced  with  an  order  of 
Doric  pilasters  enclosing  arches,  the  order 
being  carried  round  the  sides  of  the  court, 
and  the  wall  above  having  an  Ionic  order 
of  pilasters  with  two  stories  of  windows  in 
the  intervals,  and  a  Ijroad  decorated  frieze. 
Heyond  this  is  a  larger  court  of  simjiler 
architecture,  bordered  on  one  side  by  the 
stables,  with  a  niche  and  fountain  occupy- 
ing the  centre  of  another  side.  The  sober 
fayade,  which  lacks  its  cornice,  is  in  three 
stages,  separated  by  strong  balustrade- 
courses,  the  lowest  having  a  central  arched 
doorway  of  rustio  masonry,  between  two 
broad  shop-windows  covered  by  horizontal 
arches.  The  windows  above  are  square- 
headed,  the  middle  stage  including  the 
picDiu  nohiJe  and  a  low  mezzanine. 

Palazzo  Oijeslalchi,  a  large   palace 


built  from  the  designs  of  Bernini,  about 
lOGO,  with  a  great  fa(,'ade  in  three  divi- 
sions, of  which  the  central  one  has  a  base- 
ment story  with  two  arched  doorways 
flanked  by  detached  Doric  columns,  with 
entablature  and  balustrade.  Above  this 
story  is  a  cornice  on  which  is  an  order  of 
Corinthian  pilasters,  enclosing  two  stories 
of  windows  and  supporting  a  full  entabla- 
ture, the  cornice  projecting  on  consoles 
with  enriched  panels  between,  and  a  balus- 
trade above.  On  each  side  of  the  central 
mass  is  a  short  prolongation  of  it,  in  which 
the  windows  of  the  three  stories  are  con- 
tiutied,  but  tlie  wall  is  of  rustic  work 
without  the  order. 

Pal.azzo  Ossoli,  a  small  palace  built 
during  the  first  half  of  the  xvi  cent.,  from 
the  designs  of  Peruzzi,  enclosing  an  in- 
terior court  about  25  ft.  square  with  a 
vaulted  arcade  on  one  side.  Its  fa9ade  is 
in  three  stages,  the  first  of  rustic  work, 
with  a  narrow  central  arched  doorway  and 
two  sqttare  windows  on  each  side,  with 
moulded  architraves  and  consoles  support- 
ing horizontal  caps.  The  two  upper 
stories  have  each  an  order  of  pilasters, 
Doric  and  Ionic  respectively,  on  high  bal- 
ustrade-courses, the  intervals  having  each 
a  square  window,  of  which  those  of  the 
second  story  have  horizontal  caps. 

Palazzo  Paliia,  a  Kenaissance  palace 
built  in  the  xvi  cent,,  from  the  designs  of 
Antonio  Sangallo  the  younger,  and  highly 
praised  by  ^'asari.  Its  plan  is  a  rectangle 
of  about  8.5  ft,  by  114  ft,,  with  two  fronts, 
of  which  the  principal  has  three  stories  of 
simj)le  square-headed  windows  with  mould- 
ed architraves  and  horizontal  caps  of 
small  2)rojection,  Under  the  second  story 
is  a  belt  ornamented  with  a  guilloehe,  un- 
der the  third  a  dentil  cornice  which  is  re- 
peated on  a  large  scale  at  the  eaves.  The 
angles  are  quoined,  and  in  the  centre  is  an 
arched  entrance  doorway,  enclosed  by  an 
engaged  Doric  order  of  columns  on  high 
pedestals.  The  interior  contains  a  court 
about  33  ft.  square,  witii  two  su^jerimposed 


ROME 


orders  of  pilasters,  a  low  Dorio  onlcr  eii- 
c'losins;  arches  in  the  first  story,  and  a 
high  Ionic  witli  square  windows  above. 

Palazzo  Pamfili,  a  conspicuous  iialace 
built  about  1650  by  Innocent  X.,  from  the 
designs  of  Girolanio  Kainaldi,  witli  a 
fayade  on  tlio  Piazza  Xavona  of  nearly  250 
ft.,  and  depth  of  130  ft.  The  facade  is 
in  the  worst  style  of  the  Eenaissance, 
three  stories  high,  the  ornate  central  di- 
vision carried  up  with  an  additional  story 
treated  as  an  open  loggia.  The  jjlan  has 
some  interesting  features.  A  square  vesti- 
bule, divided  by  two  lines  of  piers  into 
nine  vaulted  bays,  leads  to  an  interior  court 
about  50  ft.  square,  separated  from  an- 
other somewhat  larger  by  an  open  loggia 
of  six  square  bays,  vaulted  like  those  of 
the  vestibule. 

Palazzo  Rospigliosi,  on  the  Quirinal, 
a  large  and  interesting  palace,  with  much 
picturesqueness  in  its  disposition,  but  not 
especially  remarkable  for  its  design.  The 
palace  itself  encloses  on  two  sides  a  square 
court,  opening  on  a  third  side  to  the  street, 
and  having  on  its  fourth  a  long  garden 
raised  some  15  ft.  above  the  street,  at  one 
end  of  which  next  to  the  street  is  a  casino 
with  three  rooms,  of  which  that  in  the 
centre  has  on  its  ceiling  the  Aurora  of 
Guido.  The  other  two  rooms  contain  not- 
able pictures  by  Domenichino,  Vandyke, 
Eubens,  Titian,  and  other  masters.  The 
palace  was  built  in  1603  for  Cardinal  Sci- 
pio  Borghese,  from  the  designs  of  Flami- 
nio  Ponzio.  It  was  enlarged  a  few  years 
later  under  Carlo  Maderno,  for  Cardinal 
Mazarin. 

Palazzo  RrsroLi.  This  is  one  of  the 
largest  of  the  private  palaces  of  Rome, 
built  in  1556  from  the  designs  of  Amma- 
nati.  It  has  an  unbroken  front  about  250 
ft.  long,  of  great  simplicity,  with  quoined 
angles  and  an  enriched  cornice.  It  is  in 
three  stories,  the  first  having  an  arched 
entrance  doorway  of  rustic  masonry  with 
a  horizontal  cornice,  dividing  a  range  of 
square  windows  witli  horizontal  caps,  with 


square  i)anels  lielow.  The  second,  or  j)rin- 
cipal  story,  has  nineteen  windows  on  a 
simple  string-course,  with  triangular  jiedi- 
ments  ;  the  third  story  windows  arc  jilain. 
The  interior  is  remarkable  chiefly  for  its 
fine  staircase  of  white  marble,  built  by 
Martino  Lunghi  the  j'ounger. 

Palazzo  Sacchettf,  a  large  palace  of 
simple  architecture  and  elegant  detail, 
built  about  the  beginning  of  the  xvi 
cent.,  by  Antonio  Sangallo  the  young- 
er, as  his  own  residence.  Its  plan  is  nearly 
a  square  of  110ft.,  enclosing  a  large  square 
court  surrounded  by  a  single  story  of  ar- 
cades vaulted  on  two  sides,  enclosed  in  Do- 
ric i^ilasters,  and  with  a  large  terrace-gar- 
den in  the  rear,  at  the  back  of  which  is  a 
small  garden-house  with  a  loggia  overlook- 
ing the  Tiber.  The  fa9ade  on  the  .Strada 
Giulia  is  in  three  stages  ;  it  has  a  central 
square  doorway  with  moulded  architraves 
and  simple  horizontal  caps  on  consoles,  and 
three  ranges  of  windows  of  nearly  similar 
design,  the  second  stage  having  also  a 
mezzanine  story  with  square  windows. 
The  stories  are  divided  by  broad  friezes 
without  ornament,  and  the  front  is  crown- 
ed by  an  enriched  cornice. 

Palazzo  Halviati,  au  extensive  pal- 
ace, Florentine  in  style,  built  about  1580 
by  the  cardinal  of  that  name,  from  the  de- 
signs of  Baccio  Bigio,  in  jireparation  for  a 
visit  of  King  Henry  III.  of  France.  The 
plan,  which  measures  abotxt  190  ft.  by  330 
ft.,  has  some  interesting  features.  It  in- 
cludes three  courts,  the  largest  of  which 
is  square,  surrotmded  on  three  sides  by 
vaulted  arcades,  the  fourth  side  open  to 
the  gardens  ;  the  other  two  are  narrow  and 
long  with  semicircular  ends.  Of  these 
one  is  in  two  levels,  following  the  slope  of 
the  Janiculum,  with  a  double  semicircu- 
lar staircase  connecting  the  two,  a  foun- 
tain between,  and  the  vista  prolonged  by 
an  artificial  cascade.  The  fa(,'ade  is  in  two 
stages  and  five  vertical  divisions.  The  first 
stage  is  of  rustic  work  of  unusual  and  com- 
plicated  design,  with   sqitare  openings  in 


367 


ROME 


the  centre  and  arclieil  in  the  wings  ;  anil 
a  mezzanine  story  aliove.  The  second 
stage  has  a  range  of  tall  windows  with 
horizontal  cajis  on  a  balustrade-course, 
and  above  them  are  low  windows,  all 
square-lieaded.  The  vertical  divisions  are 
marked  by  angle-quoins,  and  the  front 
is  crowned  by  a  projecting  cornice  with 
brackets. 

Palazzo  Sciarka,  l)uilt  at  the  com- 
mencement of  the  XVII  cent.,  from  the 
designs  of  Flaminio  Ponzio,  with  a  single 
and  dignified  fa(;ade  about  140  ft.  long, 
in  three  stories,  the  lowest  having  a  fine 
central  doorway  which  has  been  attrib- 
uted to  Yiguola,  and  is  composed  of  an 
arch  of  rustic  masonry  with  decorated  im- 
posts and  keystone,  faced  with  a  Roman 
Doric  order  of  two  detached  columns  on 
pedestals.  The  Aviiulows,  all  square-head- 
ed, have  in  the  first  and  second  stories 
simple  horizontal  caps.  The  second  story 
windows  rest  on  a  balustrade-course,  those 
of  the  third  on  a  moulded  belt.  The 
angles  are  quoined,  and  the  whole  is  fin- 
ished by  a  fine  enriched  cornice. 

Palazzo  del  Sexatore.  See  Cap- 
itol. 

Palazzo  Sora.     See  Buonroiiipat/iii. 

Palazzo  Spada,  built  about  15G0, 
from  the  designs  of  Giulio  Mazzoni,  a 
pu^jil  of  Daniel  of  ^'olterra,  who  showed 
himself  to  be  more  decorator  than  archi- 
tect. It  covers  a  square  of  about  1.50  ft., 
with  spacious  gardens  and  outbuildings  in 
the  rear.  Its  singular  fa(;ade  is  in  three 
stages,  of  which  the  first  is  of  rustic  ma- 
sonry, with  a  central  arched  doorway  and 
four  square-headed  windows  on  each  side, 
with  moulded  ari'hitraves  and  horizontal 
caps.  The  second  and  priiunpal  stage 
has  two  ranges  of  simple  Avindows,  be- 
tween and  about  which  the  whole  wall  is 
fretted  with  a  profusion  of  niches,  tablets, 
medallions,  figures,  garlands,  and  other  or- 
naments in  stucco,  suggesting  a  design  in 
tapestry  more  than  an  architectural  com- 
position.      The    third    stage    has    simple 


square  windows,  between  which  are  square 
decorated  jMuels,  and  above  them  an  en- 
riched cornice.  The  interior  contains 
two  courts,  of  which  the  principal  is  sur- 
rounded on  three  sides  by  handsome  vault- 
ed arcades,  faced  with  an  order  of  Doric 
pilasters,  over  the  ental)lature  of  which  is 
a  band  of  stucco  reliefs.  The  wall  of  the 
court  above  the  arcade  is  in  two  stages 
corresponding  with  those  of  the  facade, 
with  an  elaborately  enriched  cornice,  and 
sculptured  friezes  above  and  })elow  the 
upper  windows.  The  design  of  the  mid- 
dle stage  repeats  with  variations  that  of 
the  fa(;ade.  Much  of  this  decoration  is 
the  work  of  Borromini,  who  also  built  a 
colonnade  leading  from  the  smaller  court, 
constructed  in  simulated  jierspective,  nar- 
rowing toward  the  end,  the  columns  placed 
at  diminishing  intervals  and  lessening  in 
size  and  height — a  trick  to  which  there  are 
many  parallels  in  the  Italian  Renaissance. 

Palazzo  Stoppani.     See  PaL  Vidoiii. 

Palazzo  di  Vexezia,  one  of  the  oldest 
as  well  as  one  of  the  largest  and  most  im- 
posing of  the  Roman  palaces  ;  attributed 
by  Vasari  and  Milizia  to  Giuliano  da  Ma- 
jano,  and  lately  to  Francesco  del  Hcn-go. 
it  was  built  in  1468  by  Pope  Paul  II.,  a 
Venetian,  and  given  by  Pius  IV.,  a  cen- 
tury later,  to  the  Republic  of  Venice  for 
the  residence  of  its  ambassadors.  When 
Venice  was  absorbed  by  the  Austrian  em- 
pire, the  palace  became  the  })roperty  of  the 
emperor,  and  it  is  now  the  official  residence 
of  the  .Vustrian  ambassador.  The  palace 
was  built  about  the  ancient  church  of  S. 
^larco  (q.  v.),  at  the  time  of  the  restoration 
or  rebuilding  of  that  church.  Its  plan  is  a 
rectangle  some  400  ft.  long  and  '2'M  ft. 
broad,  enclosing  a  great  oblong  court,  and 
with  two  principal  facades  Florentine  in 
style,  in  three  well  -  marked  stages  sep- 
arated by  moulded  string-courses,  the  first 
with  simple  round  -  arched  windows  and 
moulded  architraves,  the  second  with  broad 
square  windows  divided  vertically  aiul  hor- 
izontallv   after   the   manner  of   a  French 


l.'OMK 


croisee  :  tlie  third  with  small  sf|uai'i' win- 
dows and  horizontal  cai)s.  Above  all  is  a 
bold  arched  corbel-table  crowned  with 
square  battlements,  giving  to  the  building 
a  inediii'val  character  rare  among  the  l\o- 
man  palaces.  The  great  interior  court 
was  to  be  surrounded  by  two  stories  of 
vaulted  arcades,  which  were  left  unfin- 
ished. They  have  slender  arches  under 
orders  of  Doric  and  Corinthian  engaged 
columns,  those  of  the  lower  story  on  high 
pedestals ;  the  second  order  raised  on  a 
balustrade-course.  One  end  of  the  court 
is  bounded  by  the  church  of  S.  Marco, 
into  which  a  side  entrance  opens  from 
the  arcade.  Attached  to  the  jialace  at 
one  angle  is  a  second  court  about  115  ft. 
square,  sometimes  called  the  Little  Palace, 
surrounded  by  two  stories  of  vaulted  ar- 
cades, the  arches  springing  in  the  first 
story  from  octagonal  Corinthian  pilasters, 
and  in  the  second  from  short  Ionic  col- 
umns. These  arcades,  ojjen  toward  the 
court,  are  closed  on  the  exterior  by  fa(;ade- 
walls  in  three  stories,  the  two  upjier  hav- 
ing arched  panels  connected  by  mould- 
ed imposts,  the  second  story  crowned  by 
a  strong  arched  corbel-table,  the  third, 
apparently  a  later  addition,  with  sf(uare 
battlements.     (See  Fir/.  176.) 

Palazzo  Yidoni,  or  Stojjpani,  a  large 
palace  of   simple   and   dignified   design, 
commonly  attributed  to  Raphael,  and  pre- 
sumed to   have  been  built  about    l.'il^. 
It   has   a  faQade   some   230   ft.    long,    in 
three  stages,  the  lowest  of  rustic  masonry, 
with  the  centre  distinguished   by  a   dif- 
ferent treatment  of  wall  surface,  and  of 
openings,  of  which  there  are  seven,  alter- 
nately  square   and   arched.     The   second 
story    presents    an    unbroken    range    of 
coujiled  Doric  columns  on   a   balustrade- 
course,  with  tall  windows  with  horizontal 
cajis  in  the  intervals.     The  third  story  is 
an   ill-designed   attic   of   later   date,    aiul 
quite   out   of   keej)ing   with    the    general 
composition. 

The  PAJfTHEON,  the  best  preserved  an- 


cient niiinumeut  of  lionu",  and  one  of  the 
most  notable  buildings  in  the  world,  con- 
sists of  a  great  cylindrical  cella,  covered  by 
a   dome    143  ft.   in  diameter — the  largest 


Fig    176.— Rome,  Pal.  di  Venezia,  Court. 

existing  dome  of  masonry  —  lighted  by  a 
circular  opening  at  its  vertex  nearly  30  ft. 
across,  and  preceded  by  a  Corinthian  ]ior- 
tico  110  ft.  by  40  ft.  The  main  structure 
is  of  concrete  bonded  and  faced  with  fine 
brick-work.  The  walls  without,  now  bare, 
are  divided  by  two  moulded  string-courses  : 
the  lowest  space  was  originally  incrusted 
with  marble,  the  two  above  with  orna- 
mental work  in  stucco.  The  base  of  the 
dome  is  masked  outside  by  a  blocking- 
course  above  which  six  encircling  steps 
lead  up  to  the  spherical  surface.  Under 
Urban  VIII.  (1623-44)  Bernini  added  two 


ROME 


belfrys,  ouc  each  side  of  the  portico. 
These,  which  were  nicknamed  Bernini's 
ears,  have  recently  been  taken  down. 
The  huilding  stood  on  a  quadranguhir 
phitform.  and  five  steps,  four  of  which  are 
now  buried,  led  up  to  the  portico.  This 
portico,  though  not  well  adapted  to  the 
great  rotunda,  is  in  itself  the  finest  in 
Rome.  It  bears  a  high  pediment,  is  octo- 
style  and  three  iutercolumniations  deep, 
but  alternate  pairs  of  interior  columns  are 
suppressed,  making  thi'ee  aisles  whose 
ceilings  are  vaulted  in  coffered  barrel- 
vaults.  {See  phi II.  Fi(/.  177.)  The  original 
columns,  of  whicli  three  have  been  replaced, 
are  monoliths  of  gray  and  pink  Egvj^tiau 
granite  with  capitals  and  bases  of  white 
marble,  and  are  more  than  iO  ft.  high. 
The  proportions  of  the  interior  are  ex- 
tremely simple.  The  whole  height  is 
equal  to  the  whole  diameter  ;  and  the  dome 
is  a  hemisphere  of  the  same  height  as  the 
wall  below  it,  so  that  its  surface,  if  ex- 
tended into  a  comi^lete  sphere,  would  ex- 
actly touch  the  floor.  The  massive  walls, 
made  more  than  20  ft.  thick  to  abut  the 
thrust  of  the  dome,  are  cut  away  inside 
into  eight  large  niches,  alternately  rectan- 
gular and  semicircular.  A  great  Cor- 
inthian entablature  encircles  the  interior 
at  half  the  height  of  the  wall,  carried 
above  the  niches  on  pairs  of  fluted  col- 
umns of  iSTumidian  marble  flanked  by  pil- 
asters. Between  the  niches  stand  eight 
canojiies  against  the  wall,  each  consisting 
of  a  pediment  borne  on  two  smaller  col- 
umns, in  pairs  alternately  of  giallo-antico 
and  porphyry,  standing  on  pedestals. 
Under  these  pediments,  whicli  are  .alter- 
nately triangular  and  curved,  are  modern 
altars.  Over  the  main  order  is  an  attic, 
decorated  with  a  small  onler  of  Corinthian 
pilasters  with  rectangular  niches  in  the  in- 
tervals, corresponding  to  the  niches  and 
canopies  below.  From  this  attic  rises  the 
dome,  divided  into  deep  colTers  between 
twenty-eight  meridional  ribs  and  four  hor- 
izoutal,  a  broad   smoolii   zone   being  left 


about  the  open  eye.  Tlie  etfect  of  this  in- 
terior is  of  unequalled  simplicity,  spacious- 
ness, and  majesty,  and  the  lighting  is  un- 
exampled. Perhaps  the  want  of  relation 
in  the  design  of  the  dome  to  that  of  the 
wall,  and  a  discordance  in  scale  between 
its  coffei'ing  and  the  details  below  it,  are 
its  only  faults.  Besides  its  columns  of 
precious  marbles,  it  was  splentlidly  revet- 
ted and  paved  with  marbles,  and  despite 
plundering  carried  on  through  centuries, 
much  of  its  ancient  decoration  survives. 
The  interior  of  the  dome  was  once  jilated 
with  bronze.  The  bronze-plated  doors, 
simply  biit  elegantly  panelled,  are  the 
original  doors  of  the  temjale. 

The  Pantheon  has  always  been  as- 
scribed  to  Marcus  Agrippa,  whose  inscrip- 
tion still  decorates  the  portico,  and  was 
presumed  to  be  the  great  rotunda  of  his 
baths  ;  but  in  189"^  a  careful  architectural 
examination  of  it  was  conducted  by  the 
Italian  (Jovernment,  with  unexpected  re- 
sults. It  is  henceforth  established  that 
the  existing  rotunda  and  dome  were  con- 
structed by  Hadrian,  about  125  a.d.,  and 
remain  essentially  as  he  built  them.  The 
IJortico  was  perhaps  later,  between  the  time 
of  Hadrian  and  that  of  Scptimius  Severus, 


Fig.  177.— Rome.  Pantheon 
Scale  of   100  feet. 


tiie  inserijilioii  on  the  t'lilaliNit  iirc  being 
the  original  from  Agrippas  I'anthecui, 
transferred  to  its  present  position.     The 


.3-0 


ROME 


Pantheon  of  Agrippa,  built  in  27  B.C.  and 
restored  under  Titus  after  the  conflagra- 
tion of  S(i  A.I).,  was  a  circular  structure 
of  essentially  the  same  disjiositiou  as  the 
present  rotunda,  but  with  a  conical  roof 
of  wood  which  was  probably 
supported  by  an  interior  circu- 
lar range  of  columns.  Tlic 
pavement  of  Agrippu's  build- 
ing was  about  (J  ft.  beneath 
that  of  the  existing  monument. 
Originally  dedicated  to  t  h  e 
chief  gods  of  Komc,  and  es- 
pecially to  those  connected  witli 
the  Julian  family,  the  Panthi - 
on  was  consecrated  as  a  church 
by  Boniface  IV.,  about  G08, 
under  permission  of  the  Em- 
peror Phocas,  in  the  name  of 
Sta.  Maria  ad  Martyres,  but 
was  soon  known  by  the  name 
it  still  bears — Sta.  Maria  della 
Eotouda.  It  contains  the  tomlj 
of  Raphael,  who  was  buried  liere 
in  I'riO.     (See  Figs.  177,  178.) 

Porta  Maggiore,  ancient  Labicana,  a 
monumental  structure  by  which  the  aque- 
ducts of  the  Aqua  Claudia  and  tlie  Anio 
Novus  are  carried  into  the  city  over  the 
roadway.  It  was  first  incorporated  in  the 
city  walls  by  Aurelian,  and  still  affords 
passage  to  the  Via  Labicana  and  the  Via 
Pr»nestina.  It  is  massively  built  of  rus- 
ticated ashlar  in  travertine,  and  consists 
of  two  archways  46  ft.  high,  the  piers  sup- 
porting which  are  pierced  by  small  arches 
between  engaged  columns  (also  rusticated 
and  perhaps  unfinished),  supjjorting  en- 
tablatures and  pediments.  In  the  high 
attic  pass,  one  over  the  other,  the  two 
water-channels.  The  attic  is  divided  into 
three  bands  which  bear  inscriptions,  the 
first  recording  the  construction  by  Clau- 
dius in  53  A.D.,  and  the  two  others  com- 
memorating restorations  by  ^'es25asian  and 
Titus,  in  71  and  81  A. D. 

Porta  del  Popolo.  This  gateway, 
constructed  out  of  the  materials  of  the  an- 


cient Porta  Flaminia.  was  built  by  Pius 
IV.  in  1501,  from  the  designs  of  Vignola. 
The  wall  is  of  travertine,  with  a  high 
round  entrance  arch  springing  from  dec- 
orated  imposts,  and    flanked    by   two  de- 


Fig.  178. — Rome,  Pantheon. 

taclied  Doric  columns  of  red  granite  and 
breccia  marble  on  pedestals,  carrying  an 
entablature  with  triglyphs.  surmounted 
by  a  high  and  rather  clumsy  attic.  Two 
statues  occupy  the  intercolumniations  on 
each  side  the  arch. 

Porta  San  Lorenzo,  the  ancient  Ti- 
burtine  Gate,  built  of  travertine.  On  the 
inner  side  of  the  gate  the  Arch  of  Augus- 
tus is  seen  above  it,  carrying  over  the  open- 
ing the  three  conduits  of  the  Aqua  Julia, 
the  Aqua  Tepula,  and  the  Aqua  Marcia. 
An  inscription  sets  forth  that  the  aque- 
duct arch  was  restored  by  Vespasian  and 
Severus.  The  arch  is  flanked  by  i^ilasters, 
and  bears  a  bull's  head  on  the  keystone. 
On  the  exterior  side,  between  two  xv  cent, 
towers,  appear  remains  of  a  gate-structure 
of  the  time  of  Arcadius  and  Ilonorius, 
with  an  inscription. 

Portico  of  the  Dii  Consextes  (the 
advising  or  counselling  gods),  the  six 
chief  male  and  six  chief  female  deities  of 


ROME 


Rome,  in  the  S.  W.  angle  of  the  Forum 
Romiinum.  Tlie  portico  was  restored  in 
307  A.I).,  by  tlie  jirefect  Vettius  Agorius 
PrEetextatus,  and  the  existing  remains 
conform  in  style  to  that  date.  There  are 
nine  cohunns,  five  of  them  of  travertine 
and  nntluted,  in  part  preserving  their  en- 
tablature, and  a  series  of  vaulted  chambers 
which  served  as  offices  for  the  clerks  and 
criers  of  the  a?diles. 

The  PoiiTico  OF  OcTAViA.  with  the 
temples  it  enclosed,  constituted  in  anti- 
quity one  of  the  most  remarkable  groups 
of  buildings  in  the  region  of  the  Flamin- 
ian  Circus.  It  was  built  by  Augustus  on 
the  site  of  the  portico  of  Metellus,  which 
dated  from  140  B.C.  In  plan  it  was  a 
large  rectangle  surroundeil  on  the  inside  by 
a  colonnade,  and  having  on  one  side  a  cen- 
tral pedimented  porch  or  proijylfeum.  In 
the  court  stood  temples  to  Juno  and  to 
Jupiter,  earlier  foundations  rebuilt  by 
Augustus.  In  connection  with  the  jiortico 
were  a  house  (curia)  for  meetings  of  the 
senate,  two  libraries,  and  an  establishment 
for  notaries.  This  groiip  of  buildings  was 
adorned  with  many  of  the  most  splendid 
Greek  works  of  art,  including  statues  by 
Phidias,  by  Cephisodotus,  and  by  Lysip- 
pus.  Great  damage  was  done  by  a  fire 
under  Vespasian,  and  the  buildings  were 
restored  under  Severus,  in  "^03  a.d.  The 
entrance-porch  survives  still  in  large  part ; 
it  had  originally  a  hexastyle  Corinthian 
portico  on  each  face,  and  the  pediments 
were  filled  with  sculpture.  Eight  col- 
umns of  Parian  marble,  about  33  ft.  high, 
are  in  situ,  of  which  three  belong  to  the 
outer  colonnade  and  two  to  the  inner. 
Portions  of  the  antaj  also  remain,  in  con- 
crete faced  with  brick,  and  a  number  of 
monolithic  Corinthian  columns,  of  poor 
style  and  no  doubt  dating  from  the  re- 
storation of  Severus,  of  the  jiortico  proper. 
There  are  in  addition  some  remains  of  the 
two  enclosed  temples. 

Tiie  PouTiro  of  the  S.t.pta  Julia,  on 
the  border  of  the  Campus  Martius,  a  cov- 


ered portico  of  great  extent  surrounding  a 
large  open  space.  It  was  projected  by 
Julius  Ctesar  and  coinjjleted  by  Agri2)pa, 
as  a  voting-place  for  the  Comitia  Cen- 
turiata.  It  was  divided  by  ])icrs  into 
aisles,  and  was  richly  adorned  witli  statues 
and  with  incrustation  of  marble.  It  was 
sometimes  used  for  speech-making  and  for 
athletic  exhibitions,  and  in  later  times  be- 
came a  bazar.  Eight  ranges  of  piers  of 
travertine,  o\  ft.  square,  survive,  five  in 
the  sacristy  of  Sta.  Maria  in  Via  Lata, 
and  three  beneath  the  Palazzo  Doria. 

The  Pyramid  of  Cait.s  Cestius, 
pra>tor,  tribune,  and  priest,  a  notable 
tomb  dating  from  about  the  beginning  of 
the  empire,  rises  beside  the  semi-Roman, 
semi-mediaeval,  double-arched  Porta  San 
Paolo,  and  consists  of  a  steej]  jiyramid  98 
ft.  square  at  the  base  and  Vl'i  ft.  high.  It 
stands  on  a  foundation  of  travertine,  and 
is  formed  of  a  core  of  concrete  faced  with 
good  masonry  of  large  marble  blocks.  The 
burial-chamber,  built  of  brick,  is  about 
20  ft.  long,  13  ft.  wide,  and  16  ft.  high ; 
its  barrel-vault  is  coated  with  fine  stucco 
painted  with  excellent  arabesques.  The 
l)resent  entrance  was  broken  through  in 
the  xvii  cent.,  efforts  to  find  the  original 
entrance  having  been  unsuccessful,  but 
the  Ijurial-cluimber  was  found  empty.  A 
colossal  bronze  statue  originally  stood  be 
fore  the  pyramid  ;  one  of  its  feet  is  in  the 
Palace  of  the  Conservators. 

QriRiXAL.  See  Palazzo  di  Mmitc 
CavaUo. 

Regia,  the  public  office  of  the  Pontifex 
Maximus,  an  important  ceremonial  foun- 
dation, traditionally  ascribed  to  Xuma, 
including  the  council -room  of  the  pon- 
tifices,  and  the  record-office  of  the  Fasti 
and  similar  public  documents.  It  stood 
on  the  Forum  Romanum  at  the  end  of 
the  Sacra  Via.  The  jilan  was  a  trapezium 
measuring  about  25  ft.  by  G5|  ft.,  divided 
into  three  rooms.  At  the  west  end  parts 
are  standing  of  walls  of  opus  quadratum 
and  concrete  faced  with  opus  rcticulatum. 


:)78 


ROME 


One  jmrtition-wall  is  built  of  solid  blocks 
of  Carrara  (Luna)  marble,  a  very  rare 
method  of  construction  in  Koiiie. 

ItosTRA,  the  tribune  or  jilatform  for 
orators  in  the  Forum  Romanum.  It  was 
originally  placed  before  the  Curia  (the 
church  of  8.  Adriano),  and  was  removed 
to  the  position  of  the  existing  remains. 
toward  the  middle  of  the  Forura,  by  Julius 
Ca?sar  in  44  B.C.  This  famous  tribune 
had  its  name  from  the  affixing  to  it,  in  338 
B.C.,  of  the  bronze  beaks  from  the  ships 
captured  at  Autium.  The  excavations  of 
1883  have  made  known  the  plan  and  de- 
tail of  Cajsar's  structure,  which  consisted 
of  a  rectangular  platform  80  ft.  long  and 
11  ft.  high,  with  front  and  end  walls  of 
tufa.  The  floor  was  formed  of  slabs  of 
travertine  supported  by  two  ranges  of 
piers  with  lintels.  The  entire  exterior 
was  incrusted  with  marble  slabs,  and  the 
top  was  crowned  with  a  pierced  j)arapet 
of  marble.  To  the  front  wall  were  affixed 
the  beaks  of  the  shijjs,  in  two  tiers,  and  on 
the  platform  were  set  up  a  number  of 
statues.  Behind  the  rostra,  and  concealed 
by  it  in  its  present  position,  are  the  re- 
mains of  a  very  richly  adorned  platform 
of  convex  plan,  called  the  Grtecostasis. 

S.  Adriano.     See  Curia. 

Sta.  Agata  alla  Sl-burra.  a  small 
basilica  with  aisles  and  aiDse,  but  without 
transe})t,  built  as  an  Arian  churcli  by  the 
(rothic  Ricimer,  near  4(J0.  It  was  re-dedi- 
cated by  Gregory  the  Great  in  693,  after 
long  abandonment,  and  was  thoroughly 
modernized  in  the  xvii  cent.,  but  the  old 
walls  of  nave  and  aisles  remain,  and  their 
twelve  columns  of  gray  granite,  with 
stuccoed  Ionic  cajjitals,  bearing  stilt- 
blocks  and  round  arches.  In  front  of  it  is 
an  atrium  surrounded  by  loggias,  which,  if 
it  is  original,  lias  at  least  quite  lost  its  old 
aspect. 

Sta.  Agxese,  in  the  Piazza  Navona.  oc- 
cupies the  site  of  an  older  church  replaced 
about  10.50,  under  Innocent  X.,  from  the 
designs  of  Girolamo  Rainaldi.     Its  plan  in- 


ternally is  that  of  a  Greek  cross,  with  a  cen- 
tral octagon  about  55  ft.  in  diameter,  with 
four  great  recesses  opening  by  round  arches 
from  its  four  greater  sides,  and  four  semi- 
circular niches  from  the  smaller  sides.  Of 
the  square  recesses,  one  forms  the  entrance 
vestibule  opposite  which  is  the  choir  with 
the  high  altar,  the  other  two  being  chap- 
els with  semicircular  apses.  The  octagon 
is  covered  by  a  high  dome  on  a  drum 
pierced  with  eight  windows.  The  ma- 
terials of  this  interior  are  of  great  rich- 
ness, and  the  decoration  is  profuse  and 
costly.  The  church  is  enclosed  by  a  great 
numljer  of  accessory  apartments,  aiul  on 
one  side  is  the  small  College  of  the  Inno- 
cenziana,  built  a  little  later  by  Borromini. 
The  picturesque  exterior  of  the  church, 
also  by  Borromini,  has  in  front  a  central 
portico  of  four  Corinthian  columns  with 
pediment  and  high  attic,  and  two  advanced 
flanking  towers  joined  to  it  by  curving 
wings.  The  towers  terminate  in  open  bel- 
fries surmounted  by  rather  rococo  s|)ires. 
The  central  dome  is  elevated  on  a  high 
tambour,  surrounded  by  au  order  of 
coupled  Corinthian  pilasters,  and  crowned 
by  an  octagonal  lantern. 

Sta.  Agnese  euori  le  Muka  is  a  small 
basilica  some  60  ft.  by  100  ft.,  without 
transept,  dating  from  the  time  of  Con- 
stantine,  and  comparatively  little  dis- 
guised by  modern  alterations ;  and  so, 
apart  from  its  sanctity,  is  of  great  histori- 
cal interest.  It  stands  about  a  mile  and  a 
quarter  outside  the  Porta  Pia,  on  the  Via 
Nomentana,  on  sloping  ground  whose  level 
has  so  risen  about  the  front  that  its  floor 
is  reached  by  a  long  descending  flight  of 
marble  steps.  It  has  the  peculiarity,  rare 
in  Rome,  of  a  nun's  gallery  or  upper 
story  over  the  aisles,  which  crosses  the 
front,  and  above  which  rises  a  clerestory. 
Eight  i^airs  of  rouiul  arches  divide  the 
aisk>s,  which  are  only  about  8  ft.  in  clear 
width,  from  the  nave,  which  is  30  ft.,  and 
are  supported  by  columns,  Corinthian  and 
Composite,  taken  from  various  older  build- 


373 


ROME 


ings.  Tlie  lower  siisle  is  groin-viuilt- 
ed,  the  upper,  with  an  arcade  resting  on 
smaller  columns,  is  also  groined,  and  has 
windows  across  tlie  front.  The  clere- 
story is  of  plain  round-arched  windows, 
and  supi^orts  a  rich  modern  flat  ceiling. 
The  conch  of  the  aj)so  retains  its  original 
mosaic  on  a  gold  ground,  with  a  figure 
of  St.  Agnes  between  Sts.  Symmachus  and 
Ilonorius,  and  below,  its  original  clothing 
of  marble.  The  remains  of  St.  Agnes  lie 
under  tiie  high  altar,  which  is  modern.  A 
porch  at  the  level  of  the  road  gives  direct 
access  to  the  uiDjier  aisle  built  for  the  use 
of  the  nuns  of  the  adjoining  convent  at 
the  left  of  the  ajise,  which  is  flanked  on 
the  outer  side  by  a  campanile  of  which  the 
lower  part  is  nearly  as  old  as  the  church. 
Constautine  is  said  to  have  built  the 
church  in  324,  at  the  request  of  his  daugh- 
ter Coustautia,  over  the  tomb  of  St.  Ag- 
nes. Constantia's  own  mausoleum,  now 
known  as  the  church  of  Sta.  Constan- 
za  {q.  v.),  stands  near  by.  The  church 
was  restored  by  Symmachus  at  the  begin- 


Fig.  179      Rome,  Sta.  Agnese  fuon   le  Mura. 

ning  of  the  vi  cent.,  and  a  century  later 
by  ilonorius.  They  doubtless  followed 
the  old  plan  ;  but  it  is  difficult  to  judge 
how  much  of  the  original  work  remains. 
Since  then  there  is  probably  little  change. 


except  for  the  modern  chapels  that  flank 
the  aisles,  the  ceiling  added  by  Cardinal 
Sfonilerato,  and  the  decoration  restored 
by  Pius  IX.,  who  also  rebuilt  the  hall 
which  opens  from  the  court,  replacing  one 
that  fell  down  with  him  during  a  solemn 
assembly  in  1S.34.     (Si'c  Fig.  ll'i.) 

S.  Agostixo,  a  small  xiii  cent,  conven- 
tual church,  built  for  the  monks  of  the 
order  of  St.  Augustine,  but  enlarged  in 
the  XV  cent,  by  Giacomo  da  Pietra  Santa, 
and  Sebastiano,  a  Florentine.  In  1480 
and  after,  Baccio  Pintelli  executed  the 
fa(;ade  and  central  dome.  In  the  xvii 
cent,  the  church  was  again  restored  from 
the  designs  of  Vanvitelli.  The  plan 
includes  a  nave  and  aisles  about  125  ft. 
long,  the  nave  in  three  vaulted  bays, 
the  aisles  each  in  six,  a  transept,  and 
deep  apsidal  choir  with  lateral  chapels. 
The  bays  of  the  nave  are  marked  by 
square  piers  faced  with  colored  marbles 
and  bearing  an  order  of  Corinthian  pilas- 
ters. Each  nave  bay  has  two  round 
arches  divided  by  an  intermediate  pier, 
which  determines  the  division 
of  the  aisles  into  square  bays 
according  to  the  arrangement 
of  the  original  Gothic  vault, 
which  remains.  Al)ove  the 
nave  arches  is  a  clerestory  with 
an  order  of  low'  Corinthian  pi- 
lasters which  take  the  ribs  of 
the  vaulting.  From  each  aisle 
opens  a  series  of  semicircular 
niches  or  chapels,  between 
which  Corinthian  pilasters  take 
the  ribs  of  the  aisle  vault.  The 
transept  arms  have  each  two 
oblong  groined  bays,  terminat- 
"  ing  in  a  round  apse.    The  hem- 

ispherical dome  built  by  Pin- 
telli, and  said  to  be  the  earliest 
example  of  a  dome  ujion  a  drum  sup- 
jxirted  by  pendentives,  which  was  taken 
down  in  the  last  century,  has  been  re- 
jilaced  without  the  drum,  and  in  1855  was 
decorated   with   paintings   of   the   twelve 


374 


EOME 


apostles  by  Gagliardi.  The  facade,  of  no 
great  merit,  lias  the  fine  detail  tliat  is  char- 
acteristic of  Piutelli.  Vjiou  a  Hat  wall  the 
outline  of  the  nave  and  aisles  is  marked  by 
pediments,  cornices,  and  sparse  pilasters, 
the  clerestory  flanked  by  enormous  scroll- 
buttresses.  There  is  a  round  window  in  the 
end  of  the  nave,  three  doors,  the  central 
one  rich  and  lofty,  and  scattered  panelling. 

S.  Alessio  (St.  Alexis),  a  Renaissance 
church,  rebuilt  in  the  xviii  century.  It  is 
in  plan  a  rectangle  about  90  ft.  wide  and  150 
ft.  long,  preceded  by  a  square  atrium  the 
full  breadth  of  the  church,  with  a  vaulted 
arcade  at  each  end.  The  interior  has  a 
broad  nave,  barrel-vaulted,  with  an  order 
of  coupled  Composite  pilasters,  between 
which  arches  open  into  the  square  bays  of 
the  aisles.  The  transept,  o'i  ft.  wide, 
does  not  project  beyond  the  aisle  walls.  A 
semicircular  tribune  opens  from  its  centre, 
and  the  crossing  is  covered  by  a  dome. 
The  choir,  including  the  transept,  is  raised 
above  the  nave  :  and  beneath  is  the  old 
crypt,  divided  by  ten  columns  into  two 
aisles.  The  original  church  is  said  to 
have  been  built  early  in  the  iv  cent.,  by 
St.  Alexis,  on  the  site  of  a  temple  in  hon- 
or of  St.  Boniface,  and  the  new  one  fol- 
lows its  lines,  preserving  the  atrium,  the 
three  aisles,  the  transept,  and  apse  ;  but 
the  columns  have  disappeared  and  the  old 
forms  are  entirely  lost.  It  was  consecrated 
anew  by  Honorius  III.  in  1217,  when  the 
bones  of  St.  Boniface  and  of  St.  Alexis 
were  discovered  and  deposited  under  the 
high  altar.  In  1 74-4-50  the  church  was 
substantially  rebuilt  by  the  monks  of  the 
adjacent  monastery.  An  extensive  con- 
vent is  attached  to  the  church  on  the  left, 
of  which  the  rooms  are  disposed  about  a 
square  cloister  some  70  ft.  on  each  side, 
surrounded  by  vaulted  arcades  on  columns 
and  with  fine  spacious  gardens  in  the  rear. 
The  square  brick  campanile  dates  back 
from  the  xii  or  xiii  century. 

S.  AxASTASio.  See  iSS.  Vincoizo  ed 
Anastasio. 


S.  Andrea,  a  little  chapel  on  the  Via 
Flaminia,  near  the\'illadi  S.  Giulio  (i/.v.), 
a  mile  beyond  the  Porta  del  Popolo,  built 
by  Vignola  for  Julius  III.  before  his  acces- 
sion, in  memory  of  liis  escai^e  from  danger 
during  the  sack  of  Kome  by  the  troops  of 
Charles  V.,  in  1527.  Its  plan  is  a  rect- 
angle 40  ft.  by  32  ft.  Its  facade  is  coni- 
jiosed  of  an  order  of  Corinthian  pilasters, 
coupled  at  the  angles,  crowned  by  a  jjcdi- 
ment,  above  wliich  is  an  attic  more  than 
half  as  high  as  the  order  itself.  Over  this 
attic  the  high  oval  drum  of  the  low  dome 
is  visible.  The  middle  intercolumuiation 
is  occupied  by  a  square  door  with  a  pedi- 
ment, the  sides  each  by  a  window  in  a 
decorated  niche.  The  interior  is  an  un- 
divided hall  with  an  order  of  Corinthian 
pilasters  carrying  the  pendentives  of  the 
oval  dome.     See  also  S.  Gregoriii  Mdf/no. 

S.  Andrea  delle  Fkatte  (St.  Andrew 
of  the  Hedges).  This  church  was,  in 
keejjing  with  its  name,  the  property  of  the 
Scotch  Catholics  up  to  the  English  Refor- 
mation. A  substantial  rebuilding  was  be- 
gun in  1605,  under  the  architect  Gaspare 
Guerra.  Its  plan  is  a  rectangle  68  ft.  by 
180  ft.  The  nave,  42  ft.  wide  and  95  ft. 
long,  is  flanked  by  shallow  rectangular 
chapels.  The  transept  arms  are  only  two 
broader  chapels.  The  crossing  is  covered 
by  a  hemispherical  dome,  built  from  Bor- 
romini's  designs,  as  was  also  the  rather 
extravagant  bell-tower.  The  square  choir 
ends  in  a  semicircular  tribune.  Tlie 
facade  of  simple  design,  by  Giuseppe  Va- 
ladier,  was  added  in  1826.  On  the  right 
of  the  church  is  a  fine  cloister,  95  ft. 
square,  enclosed  by  vaulted  arcades,  and 
surrounded  by  the  buildings  of  a  small 
convent. 

S.  Andrea  della  Valle,  a  cruciform 
church  begun  1591,  from  the  designs  of 
Pietro  Paolo  Olivieri,  and  finished  under 
Carlo  Maderno.  Its  jilan  forms  a  Latin 
cross,  about  260  ft.  in  length  and  140  ft. 
in  breadth  across  the  transept,  with  a  tun- 
nel-vaulted nave  50  ft.  wide  and  130  ft. 


876 


ROME 


long,  separated  tVciiii  the  aisles  by  broad 
jiiers  faced  with  triple  pilasters,  from 
which  transverse  arches  are  thrown  across 
the  nave.  The  aisles  are  divided  into 
square  chapels  by  transverse  walls  with  a 
door  of  communication.  The  crossing  is 
covered  by  a  lofty  dome  painted  by  Lan- 
franc,  on  the  pendentives  of  which  are  the 
four  Evangelists  by  Domenichiuo.  The 
rectangular  choir  is  flanked  by  a  domed 
chapel  on  each  side,  and  terminates  in  a 
semicircular  tribune.  The  fa9ade  has  an 
order  of  pilasters  and  engaged  columns  on 
liigli  jiedestals,  with  In-oken  pediments  and 
some  exaggeration  of  design,  the  work  of 
Carlo  Kainaldi. 

SS.  Apostoli.  This  church  was  orig- 
inally a  Christian  basilica.  It  has  been 
called  Basilica  Constantiniana,  but  was 
founded  by  Pelagius  I.  in  559,  and  enlarged 
by  John  III.  It  was  rebuilt  early  in  the 
XV  cent. ,  under  Jlartin  V.  The  aj^se  was 
added  half  a  century  later,  with  the  fa- 
cade, under  Sixtus  IV.,  the  last  from  the 
designs  of  Baccio  Pintelli.  In  1703 
the  interior  had  become  ruinous  and  was 
thoroughly  rebuilt  Ijy  Clement  XI.,  the 
architect  being  Francesco  Foutana.  The 
plan,  exclusive  of  the  choir,  is  nearly 
square,  the  breadth  being  about  150  ft. 
and  the  length  100  ft.  The  scale  of  the 
interior  is  imposing.  The  nave,  about  55 
ft.  wide  and  barrel-vaulted,  with  lunettes, 
is  sejiarated  from  the  aisles  by  three  great 
arches  springing  from  massive  jiiers,  faced 
on  three  sides  by  coupled  pilasters.  The 
aisles  are  in  three  nearly  square  bays,  sep- 
arated by  double  transverse  arches  spring- 
ing from  detached  columns,  and  covered 
ea(!h  by  an  oval  dome.  Each  bay  has  a 
shallow  chapel  in  the  thickness  of  the  side 
wall.  The  choir  is  very  spacious,  and  is 
divided  into  a  single  square  bay  and  a 
round  apse.  The  facade  consists  of  a 
great  double  portico,  standing  obliquely  to 
the  front  of  the  church,  and  composed  of 
two  unbroken  ranges  of  round  arches, 
nearly  15   ft.    wide.     Both   arcades   Avere 


origiiuilly  open,  but  the  upper  one  lias 
been  walled  up,  and  the  increased  weight 
thus  occasioned  made  it  necessary  to  rein- 
force the  piers  below.  Each  arcade  is 
surmounted  by  an  entablature,  of  which 
the  upper  one  bears  a  balustrade  with 
statues  of  the  apostles,  and  Christ  in  the 
middle. 

Sta.  Balhixa  is  a  small  church  whose 
consecration  by  Gregory  the  Great  (590- 
604)  is  recorded.  It  is  simply  a  jilaiu 
nave,  quite  modernized,  but  retaining  an 
oj)en  roof  with  some  traces  of  its  old  orna- 
ment. It  has  flat  pilasters  on  its  walls,  a 
large  round  eastern  apse,  and  rows  of  later 
cha2)els  along  the  sides,  with  a  tier  of  win- 
dows high  up  in  the  walls,  like  a  clere- 
story. Across  the  front  is  a  porch  of  three 
arcaded  bays  on  pilasters,  tlie  side  arches 
filled  up.  It  is  noticeable  that  no  columns 
are  seen  in  the  building.  It  has  been  as- 
sumed that  the  church  was  built  by  St. 
Gregory,  and  Jlothes  has  argued  that  it 
was  originally  built  with  aisles  in  place  of 
the  side-chapels  and  f)iers  between  ;  but 
Ilubsch  and  the  latest  authorities  agree 
that  it  was  one  hall,  like  the  so-called  Bas- 
ilica at  Trier,  and  was  built  in  heathen 
times,  perhaps  as  late  as  the  iv  century. 

Sta.  Baubara.  See  <S'.  Grerjorio 
Ma// I/O. 

S.  Bartolommeo  all'  Isola  stands  on 
the  island  of  the  Tiber,  on  a  site  occupied 
as  early  as  the  x  cent,  by  the  church  of  St. 
Adalbert,  which  had  itself  replaced  an  an- 
cient temple  of  Jupiter,  or  perhaps  of  vEs- 
culapius.  The  present  church  was  origi- 
nally built  —  according  to  an  inscription 
over  its  central  door — by  Pascal  II.,  in  1 1 115, 
but  was  restored  a  few  years  later  under 
Gelasius  II..  again  in  the  same  century  by 
Alexander  II.,  and  finally,  in  the  latter 
half  of  the  xvi  cent.,  by  (ircgory  XIII., 
from  the  designs  of  Martino  Lniighi.  It 
is  a  rectangular  basilica,  and  the  interior, 
divided  into  a  nave  and  aisles,  is  about  58 
ft.  wide  and  05  ft.  long,  separated  by  ar- 
cades borne  on  antique  columns  of  granite 


376 


KOME 


and  marble,  with  Composite  capitals,  i)ru- 
ceded  by  a  two  -  story  vaulted  uarthex 
which  runs  aci'oss  the  entire  front,  and 
ojiening  into  a  transept  about  20  ft.  wide, 
raised  by  several  steps  above  the  nave  and 
over  the  neglected  crypt.  Of  the  columns, 
that  ne^ct  the  entrance  on  the  left  was 
imbedded  in  a  pier  for  the  support  of  the 
medieval  bell-tower  which  shows  its  three 
upper  stories  of  triple  windows  over  the 
end  of  the  aisle,  behind  the  fayade.  From 
the  centre  of  the  transept  opens  a  semi- 
circular tribune,  flanked  on  each  side  by  a 
deep  rectangular  chapel.  From  the  alter- 
nate bays  of  each  aisle  opien  other  rectan- 
gular chapels.  The  nave  has  a  panelled 
wooden  ceiling  dating  from  1624,  and  dec- 
orated with  gold  and  color.  The  fa9ade  is 
in  two  stages,  the  centre  brought  forward 
slightly  over  a  portico  of  four  detached 
granite  columns  and  covered  with  a  low 
pediment.  The  lowest  stage  has  an  order 
of  Corinthian  pilasters  on  pedestals,  witli 
three  arches  opening  into  the  narthex,  the 
other  two  filled  by  niches.  The  upper 
stage  has  square-headed  windows  on  a  pe- 
destal-course, with  pediments  and  horizon- 
tal caps.  The  church  was  founded  by 
the  Emperor  Otto  II.  in  982  (or,  as  some 
have  thought,  by  Otto  III.),  on  the  site 
of  a  temple  of  ^Esculapius,  rebuilt  accord- 
ing to  an  inscription  by  Pascal  II.  in 
1113,  often  altered  and  finally  given  its 
present  form  in  the  latter  half  of  the  xvi 
cent.,  by  Martino  Lunghi.  The  outlines  of 
the  original  church  remain,  and  also  the 
columns  and  arcades. 

S.  Basilio.    See  Temple  of  Mars  I'/for. 

S.  Bekxardo.  See  Thermm  of  Diode- 
tiaii. 

Sta.  Bibiaxa,  an  early  basilica  near 
the  Porta  S.  Lorenzo,  consecrated  in  -173, 
by  Pope  Simplicius,  over  the  grave  of  the 
martyr,  and  according  to  tradition,  on  the 
site  of  a  memorial  chapel  built  by  the 
matron  saint  Olympia  in  30.5.  It  has 
been  much  rebuilt  at  different  times,  and 
the   aisles  are   covered   by   side  chapels  ; 


but  the  origiiuil  eight  anticpic  colunms 
and  ilat  roof  remain,  as  well  as  the  one 
square  bay  of  the  choir.  In  1024-30, 
it  was  remodelled  by  Bernini,  who  added 
the  portico  of  three  arches  with  an  order 
of  cou2)led  Ionic  pilasters. 

S.  Carlo,  an  imposing  Renaissance 
church  in  the  Corso,  was  founded  in  1612 
in  honor  of  the  canonization  of  S.  Carlo 
Borronieo.  It  was  begun  under  the  archi- 
tect Onorio  Lunghi  and  his  son  Martino, 
and  finished  by  Pietro  da  Cort-ona.  The 
plan  is  a  rectangle  about  140  ft.  broad  and 
190  ft.  long.  The  nave  has  a  breadth  of 
about  45  ft.,  and  is  covered  by  a  barrel- 
vault  adorned  with  paintings,  and  pierced 
on  each  side  by  three  lunettes  with  win- 
dows. The  nave  piers  are  faced  with 
coujiled  pilasters  ;  the  aisles  are  divided 
into  three  square  bays,  each  covered  by  a 
low  dome  ;  from  each  bay  opens  a  large 
square  chapel.  The  transept  has  the 
same  width  as  the  nave,  and  the  crossing 
is  covered  by  an  elliptical  dome.  The 
choir  is  square  and  terminates  in  a  round 
apce  ;  the  aisle  is  carried  round  it,  divid- 
ed into  bays,  covered  as  in  the  main  aisles 
by  low  domes.  The  church  is  connected 
with  various  accessory  buildings  on  each 
side,  among  which  is  a  hos2)ital  for  Lom- 
bard jiatients.  The  clumsy  facade  added 
in  1U90  from  the  designs  of  Meuicucci  is 
of  little  interest. 

Sta.  Catehixa  dei  Ffxaei  (of  the 
Rojie-makers),  a  small  church  on  the  site 
of  the  Circus  Flaminius,  and  of  a  subse- 
quent roi^efl'alk  from  which  it  takes  its 
name,  is  chiefly  noteworthy  for  its  fa9ade 
built  in  1.503  by  Giacomo  della  Porta. 
This  has  a  lower  order  of  Corinthian  pil- 
asters, with  a  central  door  under  an  en- 
gaged and  pedimented  porch,  flanked  by 
two  2)airs  of  niches.  A  band  of  si'uljiture 
connects  the  capitals  below  the  archi- 
traves ;  the  whole  is  finely  proportioned 
and  of  delicate  detail.  The  second  story, 
narrowed  to  the  width  of  the  nave  and 
flanked  by  scroll-buttresses,  has  a  similar 


ROME 

order  with  like  treatment,  crowncil  l)y  a  the  vi  (•ciit..  lumfxcd  to  it  a  Ik'iK'dictine 
pediment  and  enclosing  a  central  rose-  monastery,  and  made  it  a  place  for  peni- 
wiudow  in  a  square  decorated  panel.  The  teutial  processions  ;  and  in  807  the  body 
loAver  order  and  the  main  lines  above  are  of  8t.  Clement,  martyred,  it  is  believed, 
continued  round  the  flanks  with  good  in  the  Crimea,  was  brought  here  by  Cyril 
effect.  of  Thcssalouica.,  who  is  himself  buried 
Sta.  Cecilia,  ill  the  Trastevere.  is  an  here.  The  choir  was  rebuilt  or  refurnish- 
early  basilica,  built,  according  to  tradition,  cd  in  872-8:i,  by  John  VIII.  In  1084  it 
by  Urban  I.  about  22').  but  more  probably  was  burned  by  the  Are  which,  in  the  sack- 
two  centuries  later,  and  thought  to  oc-  ing  by  Robert  Guiscard,  wasted  the  city 
cupy  the  site  of  (St.  Cecilia's  house.  It  from  the  Colosseum  to  the  Lateran,  but 
was  almost  completely  rebuilt  in  821  by  it  was  rebuilt  in  time  to  be  used  at  the 
Paschal  I.,  and  two  or  three  times  after  election  of  Paschal  II.  in  1099.  The 
more  or  less  transformed.  It  preserves  atrium  of  the  early  church  is  preserved, 
the  ancient  atrium,  preceded  by  an  open  though  much  altered  by  Carlo  Fontana  at 
portico  with  four  detached  columns,  also  the  beginning  of  the  xviiicent.,  and  is 
the  hoxastyle  portico  of  the  cliurch  itself,  entered  by  an  old  porch  which  resembles 
adorned  with  early  mosaics,  and  the  nar-  those  of  the  Sta.  Maria  in  Cosniedin, 
thex.  The  tribune,  also  mainly  unaltered,  Sta.  Prassede,  and  Sta.  Salja — a  single 
contains  the  old  bishop's  chair  and  some  vaulted  bay  borne  on  four  aiitiiiuc  eol- 
original  mosaics  of  the  IX  century.  The  umns.  The  atrium  is  surrounded  on  all 
main  arcades  of  twenty  columns  were  sides  by  open  galleries,  that  in  front  (jT 
transformed  in  1822,  when  the  columns  wide  arches  on  heavy  piers,  those  on  the 
were  encased  in  square  piers,  and  the  sides  with  light  Ionic  colonnades  ;  the 
nuns'  galleries  wliich  formed  the  second  fourth  side,  rebuilt  by  Fontana  for  Clcm- 
story  of  the  aisles  and  narthex  were  dis-  ent  XL  early  in  the  xviii  cent.,  is  an  ar- 
guiscd.  The  Cothic  ciborium  and  high  cade  on  Ionic  columns  carrying  the  fa- 
altar  were  made  in  1283  by  one  Arnolfo,  9ade  of  the  church,  in  the  style  of  its 
who  has  been  held,  though  not  without  period,  and  serving  as  an  open  porch, 
contradiction,  to  he  Arnolfo  di  Cambio,  The  church  consists  of  a  nave  some  3.5  ft. 
the  architect  of  the  ('athedral  of  Florence,  wide  with  unequal  aisles  and  an  apse,  but 
In  the  confessio  under  it  Paschal  I.  de-  no  transept.  Each  side  the  apse  is  a  later 
posited  the  body  of  St.  Cecilia,  brought  apsidal  chapel,  and  a  square  chapel  is  built 
hither  from  the  catacombs  of  St.  Calixtus.  in  on  either  hand  at  the  entrance,  which 
The  church  belongs  to  a  Benedictine  con-  is  from  the  east.  The  main  arcades  con- 
vent, for  whose  use  the  original  nuns'  gal-  sist  each  of  two  groups  of  five  arches  sep- 
leries  were  constructed.  The  square  cam-  arated  by  a  wall-pier,  and  carried  on  an- 
panilo  was  a  later  addition.  The  tomb  of  tique  Ionic  columns,  some  fluted,  some 
St.  ('ecilia  has  a  line  recumbent  figure  by  plain.  The  entablature  over  the  arcades, 
Stefano  Maderno,  copying  the  attitude  in  which  continues  round  the  church,  the 
which  her  body  was  found  when  her  tomb  elaborate  panelling  of  the  walls.  ;iihI  the 
was  opened  in  1.599.  richly  coffered  ceiling,  are  tlue  to  Koii- 
S.  Clk.MKXTE  is  one  of  the  most  inter-  tana  :  but  the  conch  of  the  apse  and  the 
esting  of  the  older  basilicas.  It  was  built,  end  wall  of  the  nave  retain  their  old 
according  to  tradition,  on  the  house  of  St.  mosaics,  that  of  the  ap.se  of  aralicsqucs 
Clement,  the  third  or  fourth  bishop  of  on  a  gold  groiiiu!  enclosing  a  crucifix. 
Rome,  and  is  mentioned  in  history  as  early  and  dating  from  the  xiri  cent.,  tiiosc 
as  the  IV  century.     Gregory  the  Great,  in  of    the    wall,  on    blue  ground    and   prob- 

378 


ROME 


abh'  older,  figures  of  saints  and  the  sym- 
bols of  the  evangelists.  The  choir  and 
its  furniture  are  often  quoted  as  showing 
tlie  unaltered  arrangement  of  the  eai'ly 
churches.  The  floor  of  the  apse  and  a 
sf)ace  in  front  of  it,  including 
the  high  altar,  are  raised  above 
the  nave  for  a  presbytery,  and 
tlie  marble  bench  for  the  clergy, 
broken  by  the  bishoji's  chair  in 
the  middle,  lines  the  apse.  A 
considerable  sjiace  in  the  middle 
of  the  nave  is  enclosed  for  a 
choir,  with  barriers  or  screens  of 
marl:)le,  panelled,  carved,  and  in- 
laid with  mosaic.  The  two  am- 
bones  are  incorporated  with  the 
screen — on  the  left  an  octagonal 
pulpit  flanked  by  a  nuirble  col- 
umn, twisted  and  inlaid,  to  hold  r-. 
the  pascal  taper  ;  on  the  right  a  i. 
raised  reading-desk  with  double 
lectern.  The  ciborium  over  the 
altar  is  of  an  early  type,  a  square  struct- 
ure on  four  Corinthian  columns,  carry- 
ing an  architrave  that  supports  a  gabled 
roof  on  colonnettes.  It  is  noticeable 
that  the  jiulpit  and  lectern  are  on  oppo- 
site sides  from  those  in  the  other  early 
churches  that  still  preserve  them,  and 
though  the  panels  of  the  choir-screens 
bear  apparently  the  monogram  of  John 
VIII.,  they  are  put  up  with  a  carelessness 
which  suggests  removal  and  refitting. 
Excavations  undertaken  within  a  few 
years  by  the  prior  of  the  adjacent  convent, 
now  Irisli  Dominican,  have  unexpectedly 
shown  that  the  church  stands  on  the  ruins 
of  an  older  one  (which,  it  is  inferred,  is 
the  one  destroyed  in  It  184),  and  was  prob- 
ably built  entirely  anew  at  the  end  of  the 
XII  century.  The  lower  church  was  a  ba- 
silica substantially  like  the  upper  ;  but 
apparently  with  entablatures  instead  of 
arcades  resting  on  its  colonnades.  Its 
ranges  of  columns  are  to  be  seen  built  up 
in  the  walls  that  support  the  upper  church, 
its  original  walls  are  covered  with  many 


paintings  of  the  history  and  legends  of  the 
church,  attributed  to  various  dates,  from 
the  v  cent,  to  the  ,\ii.  The  floor  of  the 
old  church  is  some  20  ft.  below  that  of  the 
new,  and  beneath  this  are  found  two  older 


I   III  l^mm^miBff^ji^j^ 


Fig.  I80.-Rome,  S.  C  - 


strata  of  walls  ascribed  to  the  imperial 
time  and  the  republican.  Under  the  apse 
and  behind  it  are  chambers,  one  of  which 
is  called  the  Oratory  of  St.  Clement ;  an- 
other, a  larger  vaulted  room,  is  taken  for 
a  place  of  worship  of  the  Persian  god  Mi- 
thras, whose  altar,  found  under  the  apse, 
has  been  moved  to  the  narthex  of  the 
lower  church.  At  the  rebuilding  the 
church  was  narrowed,  so  that  while  the 
left  aisle  and  range  of  columns  are  over 
those  below,  the  nave  and  the  right 
aisle,  which  is  narrowed  for  the  purpose, 
are  included  in  the  old  nave,  and  the 
apses  do  not  agree,  the  older  being  much 
larger.  It  is  assumed  that  the  new  church 
was  built  directly  on  the  accumulated 
ruins  of  the  old,  and  that  the  screens  and 
furniture  of  the  choir  were  set  up  again 
as  before,  though  somewhat  carelessly ; 
yet  it  is  difficult  to  see  how  they  could 
survive  the  violent  and  total  destruction  of 
the  lower  church.  The  episcopal  chair 
bears  the  name  of  Auastasius,  who  was 
titular  cardinal  of  the  church  at  the  be- 


ROME 


ginning  of   the    xii    century.     (See  Fiij. 
180.) 

S.  CosiiiATo  was  origiuiiUy  a  three- 
aisled  basilica  without  transejit,  built  for  a 
convent  of  nuns  under  Gregory  V.  It  was 
nuiinly  rebuilt  in  1-175,  under  Calixtus  11., 
with  a  fa9ade  by  Baccio  Pintelli. 
Tlie  old  atrium  and  the  sliell  of 
the  original  churcli  remain.  Thi' 
atrium  is  entered,  as  in  Sta.  Saba 
and  8.  Olemeiite,  through  a  pro- 
jecting porch,  whicii  liere  is  of 
curious  f(n'm  and  penetrates  the 
front  wail,  being  half  within  and 
half  without,  and  so  is  divided 
into  two  bays,  one  cross-vaulted 
and  the  other  wagon -vaulted, 
while  the  corners  stand  on  de- 
tached Corinthiauesque  col- 
umns. 

SS.  CosMA  E  Damiaxo.  This 
small  and  ancient  churcli.  of 
which  only  the  jiorch  is  seen 
from  without,  is  a  one-aisled 
basilica,  with  a  nave  45  ft.  by 
05  ft.,  of  four  bays  of  arcades 
carried  on  grouped  pilasters. 
with  a  panelled  attic  above  and 
a  horizontal  coffered  ceiling. 
It  took  its  present  shape  in 
1633,  under  X^rban  ^'III.,  as  an 
inscription  tells  us,  when  the 
side  aisles,  "dejectis  lateralibus 
parietibus,"  were  replaced  by 
rows  of  chapels.  Of  the  original 
church  by  Felix  I\".,  in  528,  the  old 
apse  remains,  somewhat  too  broad  for  llic 
present  nave,  witli  its  mosaics,  as  well  as 
those  about  the  great  arch,  more  or  less 
altered.  The  vestibule  is  a  round  build- 
ing which  has  puzzled  archwologists,  but  is 
believed  to  be  a  temjde  dedicated  fii-st  to 
Komulus,  the  son  of  ^faxentius,  and  after- 
ward to  his  conqueror,  Constantiue,  be- 
fore his  conversion  ;  which,  by  a  natural 
confusion  of  tradition,  has  been  confounded 
with  a  temple  of  Komulus  and  Kemus. 
Behind    the  church   were  discovered   the 


nuirble  slabs  engraved  witli  the  j>lan  (jf 
Ivome  at  the  end  of  the  ii  cent.,  which 
are  preserved  in  the  Capitoline  Museum. 
When  the  church  was  restored  in  1G33,  it 
was  found  necessary  to  raise  the  floor 
several  feet  to  suit  the  accumulation  of 


Fig.  181. — Rome,  Sta.  Costanza. 

tlic  outside  soil,  so  that  there  is  now  a 
liasement  or  lower  church  in  Avhich  are 
the  tombs  of  Saints  Cosma  and  Damianns, 
the  two  Arabic  physicians  martyred  un- 
der Diocletian,  to  whom  the  church  is  ded- 
icated, and  of  St.  Felix.  [See  Fig.  16 Jf.) 
Sta.  Costanza,  the  mausoleum,  or 
baptistery,  of  St.  Constance,  is  a  round 
building  of  some  73  ft.  interior  diameter, 
close  by  the  church  of  Sta.  Agnese  fuori  le 
Mura,  and  a  mile  or  so  outside  the  Porta 
I'ia,  and  dates  from  the  time  of  Constan- 
tiue.     It  has  a  central  rotunda  surrounded 


ROME 


by  twelve  radiating  couples  of  Composite 
columns,  carrying  as  many  ^jieces  of  entab- 
lature with  round  arches  u^jou  them,  and 
above  tliese  a  circular  drum  pierced  by 
twelve  round-arched  windows,  and  a  hemi- 
sjiherical  dome  with  brick  ribs  sunk  in  a 
concrete  shell.  It  is  a  singular  peculiarity 
that  siuce  the  blocks  of  entablature  make 
square  piers,  the  pier-arches  widen  outward 
to  suit  the  expanding  wall  of  the  drum,  and 
their  soffits  are  conical.  Outside  the  ro- 
tunda is  a  circular  aisle,  whose  annular 
vault  is  abtitted  by  a  very  thick  outer  wall, 
and  in  this  wall  are  twelve  niches  alternate- 
ly round  and  square.  The  four  cardinal 
niches  are  larger  than  the  rest ;  that  in  front 
contains  the  entrance,  leading  from  an  ob- 
long vestibule,  now  dilapidated,  which  had 
an  apse  on  each  side,  and  au  arcade  of 
three  arches  in  front.  The  niche  at  the 
back  of  the  aisle  contained  the  richly  carved 
sarcophagus  of  porphyry  which  has  been 
transferred  to  the  Museum  of  the  Vatican. 
In  the  lateral  niches  are  two  doors  which 
open  into  a  narrow  surrounding  area,  once 
covered,  it  is  believed,  by  a  colonnade,  and 
containing  two  stairways  that  lead  down 
to  a  crypt.  The  building  was  built,  it  is 
said,  by  Constantiue,  in  3"-2C,  serving  first 
for  the  baptistery  of  his  daughter  Con- 
stantia  (or  Coustantiua),  and  of  his  sister 
of  the  same  name,  and  afterward  as  their 
tomb.  The  vault  of  the  aisle  still  shows 
considerable  portions  of  its  original  deco- 
ration in  mosaic,  with  genii  and  animals, 
vines  and  grapes  ;  and  other  mosaics  adorn 
the  walls  in  places  ;  those  that  covered  the 
dome  were  destroyed  when  it  was  restored 
at  the  end  of  the  xvii  cent.,  and  modern 
paintings  substituted  for  them,  but  a 
drawing  of  the  original  decoration  is  pre- 
served, we  are  told,  in  the  Escurial  in 
Spain.     {See  Fig.  181.) 

S.  Crisogoxo,  in  the  Trastevere.  a  ba- 
silica as  old  as  the  v  cent. ,  and  mentioned 
in  the  record  of  the  Council  of  Symma- 
chus.  but  like  others  much  restored  and 
altered.     It  has  a  flat-ceiled  nave,  37  ft. 


wide  and  140  ft.  long,  lined  with  eleven 
])airs  of  antique  columns  carrving  an  en- 
tablature, the  original  triumphal  arch 
borne  by  two  ancient  columns  of  porphyry, 
a  transept  with  apsidal  choir,  and  two 
square  side-chapels.  Other  chapels  ad- 
join the  left  aisle.  The  whole  transept 
and  choir  are  considerably  raised,  as  if 
to  jiermit  au  unusually  large  confessio  or 
crypt.  In  this,  as  in  several  other  points, 
it  resembles  the  neighboring  church  of 
Sta.  Maria  in  Trastevere.  The  transept 
is  ])robably  an  addition  of  the  viii  cent., 
aiul  the  vaulting  of  the  aisles  of  the 
XII.  Over  the  altar  is  a  rich  modern  bal- 
dacchiuo  of  alabaster.  The  fa9ade,  the 
work  of  Soria,  in  1023,  consists  of  a  por- 
tico in  one  story,  with  four  Tuscan  col- 
umns between  pilasters  enclosing  arches, 
and  an  order  of  Ionic  pilasters  and  pedi- 
ment above.  The  medieval  campanile 
against  the  north  aisle,  in  five  stories  sep- 
arated by  cornices,  is  modernized. 

Sta.  Ckoce  in  Geiu'salemme,  or  the 
Sessorian  Basilica,  so-called  because  it  was 
built  on  the  Sessorian  jjalace,  has  been  a 
jDUzzle  to  archffiologists.  At  present, 
after  a  complete  overhauling  by  Grego- 
rini,  in  1174,  it  has  a  high  rather  narrow 
nave  covered  by  a  barrel -vault  pierced 
with  lunettes,  and  aisles  which  are  groin- 
vaulted.  Nave,  aisles,  and  transept  are  all 
under  a  single  low  gabled  roof,  the  galler- 
ies  which  once  apjieared  over  the  aisles 
being  closed  up.  Originally  the  nave  and 
aisles  were  separated  by  six  antique  col- 
umns on  each  side  carrying  arches,  but 
these  columns  are  now  subordinated  by 
filling  alternate  openings  with  piers,  faced 
with  the  pilasters  of  a  great  Corinthian 
order,  and  the  intervening  arches  are  dis- 
guised by  inserting  lintels  which  carry 
panels  of  sculpture.  The  tribune  of  the 
choir  is  much  wider  than  the  nave,  and 
occupies  almost  the  whole  east  side  of  the 
transejit,  leaving  room  only  for  a  narrow 
passage  on  each  side.  That  on  the  right 
leads  down  by  a  stairway  to  the  subterra- 


ROME 


nean  chapel  behind  the  apse,  built  by  Hel- 
ena, the  mother  of  Constantiue,  to  receive 
the  fragments  of  the  true  cross  which  she 
brought  from  Jerusalem,  whence  the 
churcli  is  named.  It  has  a  domed  ceiling 
adorned  with  mosaics  which  are  ascribed 
to  Peruzzi,  as  are  the  frescoes  of  the  apse, 
by  some  credited  to  Pinturrichio.  That 
on  the  left  communicates  with  a  corre- 
sponding but  much  later  vaulted  chapel. 
The  old  colonnaded  porch  was  destroyed 
when  tlie  nave  was  remodelled,  to  make 
room  for  a  great  oval  narthex  by  Grego- 
rini,  a  rotunda  divided  from  a  surround- 
ing aisle  by  piers  of  grouped  pilasters,  to 
Avhicli  is  prefixed  a  rococo  facade.  The 
medieval  campanile  still  stands  lieside  it. 
The  church  dates  from  about  330,  though 
its  older  existing  parts  doubtless  mostly 
belong  to  7"-iO,  when  it  was  restored  by 
Gregory  11.  from  great  dilapidation.  It 
was  further  modified  in  the  middle  of  the 
XII  cent,  and  of  the  xv,  be'fore  it  was  fi- 
nally transformed.  A  trace  of  the  monas- 
tic (Cistercian)  rule  under  which  it  i>assed, 
still  lingers  in  the  order  that  women  shall 
not  enter  the  chajiel  of  St.  Helena  except 
on  the  anniversary  of  its  dedication. 

S.  EusEHio.  This  conventual  church, 
a  rectangle  of  about  G8  ft.  by  110  ft., 
stands  at  the  end  of  a  long  enclosure, 
across  which  extends  its  vaulted  jjortico  of 
five  round  arches  on  massive  j)iers,  with  a 
single  doorway  in  the  centre  of  the  nave. 
The  nave  is  in  five  oblong  bays,  barrel- 
vaulted,  divided  by  transverse  arches,  and 
separated  from  the  aisles  by  arcades  of 
which  the  piers  are  faced  with  i)ilasters. 
1'he  aisle  bays  are  square  and  covered  by 
low  domes.  The  transept,  which  does  not 
project  beyond  the  aisle  walls,  is  divided 
into  three  bays,  from  the  central  one  of 
which  opens  a  square  choir  with  carved 
walnut  stalls  on  three  sides.  Tlie  ceiling 
of  the  nave  is  j)ainted  by  Kajihael  iMengs. 
The  original  church,  probably  a  basilicni. 
is  believed  to  have  existed  in  tiie  time  of 
Gregorv  the   Great  ;    it    was   restored    bv 


Pope  Zacharias,  and  again  by  Gregory  IX., 
who,  in  1238,  dedicated  it  to  St.  Eusebius 
and  St.  Vincent.  In  1711  it  underwent 
a  third  restoration  by  the  monks,  under 
the  architect  Carlo  Stefano  Eontaua,  and 
was  finally  remodelled,  in  1750,  by  Nic- 
colo  Piccione,  when  the  ancient  columns 
of  the  nave  were  replaced,  or  ])erhaps  en- 
closed, by  massive  piers.  An  extensive 
convent  is  attached  to  the  church  on  the 
right,  with  au  oblong  court  of  peculiar 
plan,  comjiosed  of  a  central  square  with 
two  stories  of  open  arcades  on  two  sides, 
and  a  narrower  retreating  bay  at  each  end  ; 
the  Doric  and  Ionic  orders  of  pilasters 
carried  round  the  whole. 

Sta.  Fuaxcesca  Eomana,  an  old 
church  built  in  the  middle  of  the  ix  cent, 
by  Popes  Leo  IV.  and  Nicholas  I.,  and 
still  retaining  the  old  walls  and  the  orig- 
inal apse,  which  is  reuuirkable  for  some 
early  mosaics,  of  uncertain  date  but  as- 
cribed by  some  to  Nicholas  himself.  It 
has  been  much  transformed,  chiefly  in 
Ki'^O  by  Carlo  Lombardi,  who  added  the 
fa(;ade.  The  aisles  have  been  divided  into 
chapels,  and  the  nave  covered  with  a  rich 
coffered  ceiling.  The  modern  front  gives 
an  open  porch  of  three  arches,  an  order  of 
Corinthian  pilasters  against  the  nave  with 
pediment  and  pedestals,  a  lower  Doric  or- 
der against  the  aisles,  and  scroll  buttresses 
over  them.  Under  the  raised  choir  is  a 
crypt  containing  the  body  of  the  saint. 
The  church  is  built  on  the  foundations  of 
the  Temple  of  Venus  and  TJome.  Against 
its  north  side  stands  a  well-jireserved  bell- 
tower,  perhaps  of  tlie  xi  cent.,  with  five 
arcaded  stories — in  the  three  upi)er  ones 
pairs  of  coupled  arches  on  mid-wall  shafts. 

S.  Giorgio  in  Velabiu).  a  basilica  of 
very  primitive  style,  called  the  Sempro- 
nian  basilica  because  it  is  thought  to  stand 
on  the  site  of  a  palace,  or  perhaps  a  basil- 
ica, built  by  the  Sempronii.  It  was  ap- 
jiarcntly  built  under  Pelagius  11..  near  the 
end  of  the  VI  cent.,  but  had  to  be  rebuilt  a 
hundred  years  later.     It  is  only  about  100 


ROME 


rest  ou 


ft.  long,  fronting  the  south  ;  its  niive  ami 
aisles,  cramjied  by  the  site,  contract 
toward  the  choir.  Its  arcades 
sixteen  rather  irregular  antique 
columns,  Ionic  and  Corinthian, 
one  bay  being  cut  out  from  the 
west  aisle  by  the  square  campa- 
nile at  the  S.  W.  corner.  Above 
the  round-arched  clerestory  is  a 
simi^le  wooden  ceiling,  and  the 
interior  is  plain  and  bare,  except 
the  choir.  This,  occupying  the 
last  bay  of  the  nave  and  the  apse, 
is  raised  half  a  dozen  steps,  to 
give  room  for  the  confessio  be- 
neath, which  holds  the  relics  of 
St.  Creorge.  The  ajjse  is  lined 
with  marble  and  has  a  bench  for 
the  clergy  with  the  bisliojj's  chair 
in  the  middle,  a  wainscoting,  and 
over  it  an  order  of  jjilasters.  Its 
semi-dome  is  painted  with  colos- 
sal figures  of  Christ,  St.  George, 
and  other  saints,  apparently  cov- 
ering pictures  which  Giotto  is 
known  to  have  painted  here. 
Over  the  altar  is  a  characteristic 
and  well-preserved  early  cibori- 
um,  a  four-square  canopy  of  Co- 
rinthian columns,  carrying  a 
kind  of  octagonal  lantern  sup- 
ported by  colonuettes.  The  al- 
tar below,  and  the  face  of  the 
confessio  beneath  it.  which  is  displayed 
by  a  gaj)  in  the  stejjs,  are  ornamented 
with  mosaics.  The  front  has  a  richly 
carved  architrave  about  the  front  door, 
evidently  built  of  Roman  fragments,  ami 
is  crossed  by  an  open  porch  with  four 
Ionic  columns  in  anfis  and  an  entabla- 
ture built  up  of  brick  and  marble,  and 
made  disproportionately  high  by  brick 
relieving  arches  which  are  let  into  the 
frieze.  The  inscription  on  the  porch  in- 
dicates that  it  is  an  imitation  of  classic 
forms  built  in  the  xii  century.  The  tower, 
one  of  the  earliest  in  Rome,  dates  from  the 
rebuilding  at  the  end  of  the  vii  century. 


It  has  four  arcaded  stories  above  the  roof, 
divided  by  modillioned  cornices,  the  up- 
per   arcade   carried   ou    mid-wall   shafts. 


F.g.  is:.- 


Against  the  tower,  and  partially  swal- 
lowed up  by  it,  is  the  Arcus  Argeutarius 
(17.  v.),  or  Arch  of  the  Silversmiths,  some- 
times called  Arch  of  the  Gold.smiths. 
There  are  indications  that  the  church, 
like  Sta.  Maria  in  Cosmcdin,  belonged  to 
a  colony  of  Greeks  ;  and  Pope  Zacharias, 
himself  a  Greek,  in  745  deposited  here 
the  head,  the  helmet,  and  the  spear  of  its 
patron.  St.  George,  who  is  much  honored 
in  the  Greek  church.     {See  FUj.  182.) 

S.  GiovANXi  Decollato  (St.  John  the 
Beheaded).  This  little  church  was  built 
by  the  Florentine  Brotherhood  of  the 
Misericordia,   which   was    founded   about 


ROME 


1450  for  tlif  i)iirpose  of  assistiug  aiul  com- 
forting j)risoners  condemned  to  death. 
The  church  is  a  rectangle  35  ft.  by  90  ft.. 
with  a  single  nave  with  broad  flat  pilasters 
dividing  the  walls  and  carrying  a  light  en- 
tablature. In  the  intervals  are  shallow 
arched  recesses,  above  which  in  the  three 
middle  intervals  are  rouud-arclied  win- 
dows flanked  by  jxinel.s.  The  choir  is 
separated  from  the  nave  by  a  transverse 
wall  and  round  arch,  the  altar  being  in  a 
square  vaulted  recess  at  the  back.     The 


whole  church  has  a  flat  panelled  ceiling    octagonal  outside. 


gallo  and  Sansovino  were  among  the  con- 
testants. The  work  was  given  to  San- 
sovino, but  was  suspended  on  account  of 
difliculties  in  construction  resulting  in 
failures ;  and  the  control  passed  about 
1530  into  the  hands  of  Sangallo,  and  later 
into  those  of  Giacorao  della  Porta  and 
Carlo  Maderno.  The  facade,  added  in 
1T3-4  by  Alessandro  Galilei,  has  an  order 
of  three-quarter  columns  coupled,  with 
three  doorways  in  the  intervals,  and  the 
dome,  which  is  circular  in  plan  inside  is 


which,  as  well  as  the  pilasters  and  wall-sur- 
faces, is  elaborately  decorated.  The  f  a9ade 
consists  only  of  an  order  of  four  Doric  p'l- 
lasters  with  low  pediment,  with  a  square 
door  flanked  by  two  niches  between  the 
middle  columns.  Attached  to  the  left  flank 
of  the  church  is  a  fine  cloister  54  ft.  square, 
surrounded  on  three  sides  by  vaulted  ar- 
cades with  Doric  columns,  giving  access 
on  two  sides  to  various  subordinate  apart- 


S.  GiovAXXi  IN  FoxTE,  the  baptistery 
of  the  Lateran,  commonly  known  as  the 
Baptistery  of  Constantine,  stands  detached 
to  the  rear  of  the  church  and  connected 
with  it  and  the  adjacent  monastery  by  a 
large  enclosed  court.  In  plan  it  is  an  oc- 
tagon of  28  ft.  diameter,  covered  by  a 
dome  and  surrounded  by  an  octagonal 
aisle,  the  whole  diameter  being  about  68 
ft.     The  central  octagon  is  supported  by 


meuts.    The  enclosure  was  the  burial  jilace     eight  ancient  shafts  of  red  porphyry  with 


of  the  condemned. 

S.  GiovANXi  de'  Fiorextini.  a  Renais- 
sance church  which,  exclusive  of  the  choir 
and  its  chapels,  is  a  rectangle  measuring 
about  IIT  ft.  broad  and  150  ft.  long,  with 
a  tunnel-vaulted  nave  35  ft.  wide  and 
nearly  lOO  ft.  long,  and  aisles  divided  by 
transverse  arches  into  five  squ.ire  bays, 
from  each  of  which  opens  a  square  chapel, 
two  of  them  used  as  vestibules.  The  tran- 
sept is  as  wide  as  the  nave,  with  square 
ends ;  the  crossing  is  covered  by  a  high 
dome  on  a  tambour.  The  choir  is  square 
with  flat  niches  on  three  sides,  and  is 
flanked  on  each  side  by  a  square  chapel. 
It  was  founded  in  the  second  half  of  the 
XV  cent,  by  an  association  of  Florentines 
whose  duty  it  had  been,  during  the  plague 
of  1448,  to  attend  to  the  burial  of  the 
poorer  victims  of  the  disease,  and  who 
afterward  determined  to  build  a  national 
cliurili  ill  comiuemoration  of  that  service. 
A  coin]ietiti()n  was  .set  on  foot,  in  wiiich 
Miciiael   Angelo,  I'eruzzi,  Raphael,  8an- 


lonic.  Corinthian,  and  Composite  capitals 
carrying  an  architrave,  above  which  is  a 
second  range  of  columns  of  white  marble 
and  a  heavy  entablature  reaching  to  the 
flat,  panelled,  and  decorated  ceiling  of  the 
surrounding  aisle,  and  bearing  the  drum 
of  the  octagonal  dome,  which  appears  ex- 
ternally above  the  roof  of  the  surrounding 
aisle  only  as  a  low  octagonal  wall  pierced 
by  small  round  windows  and  covered  by  a 
low  roof.  The  central  space  is  enclosed 
by  a  balustrade,  within  wliicli  is  the  an- 
cient basin,  sunk  three  steps  below  the 
pavement ;  in  the  middle  stands  the  vene- 
rated font  of  green  basalt.  The  wall  of 
the  aisle  has  on  four  of  its  sides  great 
square  panels  filled  witii  pictures  repre- 
senting the  exploits  of  Constantine,  above 
wliicli  are  four  square  windows  with  taste- 
less decoration.  The  building  is  ap- 
proached by  a  vestibule  with  two  apsidal 
chai)els  on  its  sides.  l''riini  two  oyiposite 
sides  of  the  surrounding  aisle  open  chap- 
els dating  from  the  v  cent.,  dedicated  to 


384 


PISA -GENERAL  VIEW 


ROME 


Jolm  the  Baptist  andJohntlie  Evuiigelist  ; 
and  from  a  tliird  side  opens  the  oratory 
of  S.  Veuauzio,  a  square  apartment  with 
a  semicircular  apse.  The  exterior  is  rpiite 
simple,  the  only  decorative  feature  beiii^ 
an  entrance  portico  of  two  an- 
tique Corinthian  columns  be- 
tween pilasters  attached  to  the 
vestibule.  The  baptistery  was 
built  by  Sylvester  at  the  order 
of  Constantine,  who,  however, 
notwithstanding  the  jiopnlar 
tradition,  was  not  baptized 
here,  Init  in  Jvicomedia.  Syl- 
vester lined  the  basin  with  sil- 
ver, surrounding  it  with  the 
eight  porphyry  columns  which 
carried  a  golden,  or  gilded,  cu- 
pola, says  Anastasius.  A  cen- 
tury later  Sixtus  III.  enlarged 
it,  and  Ililarius  added  the 
chajiels  of  the  Baptist  and  the 
Evangelist.  In  the  middle  of 
the  VII  cent.  John  IV.  built 
the  chajjel  of  S.  Venauzio.  Modern  res- 
torations have  not  greatly  changed  the 
structure  of  the  building.  {See  Fig.  ISo.) 
S.  Giovanni  in  Laterano,  the  Mother 
of  Churches,  fronts  eastward  and  is  faced 
with  a  nartliex  or  portico  extending  quite 
across  the  front,  and  about  30  ft.  deep, 
with  five  open  arches  toward  the  square, 
and  five  doorways  entering  the  five  aisles 
of  the  interior  ;  it  has  a  nave  nearly  60 
ft.  wide  and  250  ft.  long,  flanked  by  two 
aisles  on  each  side,  the  whole  interior 
breadth  being  about  170  ft.  ;  a  transept 
50  ft.  wide  crossing  the  whole,  and  raised 
four  steps  above  the  nave,  with  a  round 
apse  opening  from  its  centre,  surrounded 
by  a  polygonal  vaulted  ambulatory  of  the 
width  of  the  inner  aisles.  Tlie  rows  of 
columns  and  arches  in  the  original  basilica 
were  replaced  or  encased  under  Borromiui 
by  the  great  piers,  of  which  those  next  the 
nave  are  26  ft.  broad,  rising  through  the 
entire  height  of  tlie  nave,  and  faced  each 
with  two  great  Corinthian  pilasters  carry- 


ing an  entablature;  l)etween  these  pilasters 
is  a  broad  niche  of  extravagant  design  en- 
closing a  colossal  statue.  Over  the  niches 
are  square  panels  filled  with  Ijas-rclicfs, 
and  above  these  again  great  i)ainted  medal- 


Fig.  183.— Rome,  S.  Giovanni   in   Fonte  (Baptistery  of  Constantine). 


lions.  Between  the  piers  are  round  arches 
with  a  span  of  about  20  ft.,  and  half  as 
high  as  the  nave,  over  which  are  the  square 
windows  of  the  clerestory,  enclosed  within 
pilasters  carrying  broken  pediments.  The 
nave  is  covered  with  a  flat  ceiling  deeply 
panelled  and  i)rofHsely  decorated.  The 
two  rows  of  vaulted  aisles  on  each  side 
the  nave  are  separated  by  square  piers 
bearing  longitudinal  lintels  and  transverse 
arches,  the  latter  of  which  divide  the 
aisles  into  eleven  bays  each,  corresponding 
to  the  arches  and  piers  of  the  nave.  The 
bays  of  the  inner  aisles  are  covered  by  low 
domes.  Tlie  great  trinmjihal  arch  of  the 
basilica  is  retained,  and  sijrings  from  two 
Corinthian  columns  set  against  the  nave 
piers,  and  carrying  blocks  of  entablature. 
The  transcjit  ends  are  square,  and  in  that 
on  the  right  liand  are  three  doorways 
opening  from  a  vaulted  portico  of  five 
arches  which  forms  the  lateral  entrance 
from  the  piazza.  The  tribune,  which  with 
its  surrounding  aisle  is  the  only  portion 


385 


KOME 


of  the  church  that  retains  something  of 
its  earlier  character,  is  a  great  semicircle 
of  which  the  diameter  is  equal  to  the 
breadth  of  the  nave,  and  covered  with 
a  semi  -  dome  decorated  with  mosaics 
of  the  xiii  century.  The  surrounding 
Gothic  double  aisle,  of  the  same  width  as 
the  inner  aisles  of  the  nave,  and  sulxli- 
vided  by  a  line  of  shafts  into  two  concen- 
tric lines  of  groined  bays,  has  just  been 
restored  away.  On  the  left  of  tlie  aisle 
an  oblong  chapel  opens  from  the  transept, 
used  for  the  services  of  the  church  in 
winter.  The  high  altar  is  nearly  under 
the  triumphal  arch,  and  is  covered  by  a 
high  Gothic  ciborium  in  two  stories,  a 
work  of  the  xiv  cent.,  the  lower  story 
with  square  openings,  the  upper  with  four 
round  foliated  arches  with  gables  flanked 
by  i^innacles  and  covered  by  a  pyramidal 
sjiire.  Several  jjrivate  chapels,  built  and 
maintained  by  as  many  great  Konum  fami- 
lies, open  from  the  outer  aisles,  among 
which  the  most  remarkable  is  the  Cursini 


Fig.   164. — Rome,  S.  Giovanni    in   Laterano. 


chapel,  built  in  1729  by  Pope  Clement  XII. 
from  the  designs  of  Alessandro  Galilei. 
Its  plan  is  a  Greek  cross,  its  arms  covered 
by  barrel-vaults,  its  centre  by  a  high  hemi- 


spherical dome  with  drum  and  lantern, 
and  the  whole  interior  of  almost  unex- 
ampled richness  of  material  and  decora- 
tion. This  chapel  has  on  the  flank  of  the 
church  a  lofty  three-story  fa<,'ade  with  an 
entrance  doorway  approached  by  a  high 
flight  of  steps.  The  fa9ade  of  the  right 
transejit,  after  successive  changes,  was 
brought  to  its  present  form  about  1585, 
under  Sixtus  Y.,  by  Domenico  Fontana.  It 
consists  of  two  stories  of  open  arcades,  the 
arches,  five  in  each  story,  occupying  the 
intervals  of  an  order  of  pilasters,  Doric 
below  and  Corinthian  above,  coupled  at 
the  angles,  and  the  entablatures  sur- 
mounted by  balustrades.  Above  and  Ije- 
hind  the  arcades,  over  the  wall  of  the 
transept,  appear  two  older  square  angle- 
towers  joined  by  a  blank  wall  with  a  hori- 
zontal cornice.  The  latest  portion  of  the 
church  is  the  great  fa<;ade  of  the  nave  and 
aisles,  an  inqMsiug  structure  covering  the 
narthex  and  having  little  or  no  architect- 
ural relation  to  the  church  behind  it. 
It  was  the  result  of  a 
competition  set  on  foot 
by  Clement  XII.  Of 
twenty -one  designs 
sent  in,  that  of  Ales- 
sandro Galilei  was  ac- 
cejited  and  carried  out. 
It  is  a  rectangular 
liuilding  with  a  front- 
age of  about  205  ft. 
and  a  depth  of  44  ft., 
composed  of  a  single 
great  order  of  Corin- 
thian pilasters  on  high 
jiedestals  covering  two 
stories,  with  a  high  bal- 
ustrade aliove  the  cor- 
nice, and  colossal  stat- 
ues of  popes  crowning 
the  pedestals.  The 
centre  is  brought  forward  on  coupled  three- 
quarter  colunms  and  crowned  with  a  pedi- 
ment. Behind  the  jiilasters  are  the  two 
stories  of  ojJen  arcades  defined  by  sub-or- 


ROME 


ders  of  Corinthian  pilasters,  that  of  tlie 
tirst  story  having  an  ontahlatnre  nmniiig 
between  the  great  pilasters,  that  of  the 
second  story  h  a  v  i  n  g  round 
arches.  The  composition  is 
simple  and  on  a  grand  scale, 
and  is  extremely  imposing.  Its 
effect  is  heightened  by  a  great 
platform  surrounding  the 
building,  in  two  levels,  with 
two  ranges  of  steps  encircling 
it.  South  of  the  transept  is  a 
cloister  which  is  one  of  the 
most  interesting  in  Italy.  It 
is  in  the  style  of  the  Cosmati, 
closely  resembling  that  of  S. 
Paolo  fuori,  and  must  date 
from  near  1240.  The  court  is 
about  80  ft.  square,  and  sur- 
rounded by  a  graceful  arcade 
of  small  round  arches  spring- 
ing from  coupled  columns  of  varied  de- 
sign, the  shafts  plain,  spiral,  twisted. 
octagonal,  many  with  an  inlay  of  deli- 
cate mosaic,  the  capitals  of  a  compos- 
ite design  greatly  varied,  and  with  aliaci 
joining  the  two  capitals  of  each  pair. 
The  columns  stand  on  a  stylobate,  and 
over  the  arcade,  which  is  divided  into 
bays  of  five  arches  each,  separated  by 
liroad  flat  pilasters,  runs  a  heavy  entab- 
lature, of  which  the  architrave  and  frieze 
are  enriched  with  mosaics  and  the  cornice 
with  sculpture.  The  galleries  are  divided 
into  sfpuire  bays  which  are  covered  with 
groined  vaults,  sjiringing  from  Ionic  col- 
umns without  bases  set  inside  the  arcade, 
and  from  responding  pilasters  on  the  wall 
at  the  back.  The  cloister  is  the  court  of 
the  monastery  attached  to  the  church, 
which  was  founded  by  Benedictine  monks. 
The  Lateran  church  and  palace  take 
their  name  from  the  Roman  family  of  the 
Laterani.  whose  palace  the  present  build- 
ings rejjlace.  Constantine  gave  the  palace 
to  Sylvester,  then  bishop  of  Eome,  who, 
as  early  as  314,  began  there  a  basilica 
which  he  dedicated  to  the  Saviour  in  324. 


The  church  is  the  most  venerable  in 
I\onu\  jiossibly  the  oldest,  in  spite  of  the 
claim    of    Sta.    I'udcutiana.      Until    the 


Fig.  185. — Rome,  S.  Giovanni  in  Laterano. 

popes  were  driven  to  Avignon,  in  the  be- 
ginning of  the  XIV  cent.,  the  Lateran  was 
their  residence  and  its  church  their  pri- 
vate chapel :  when  they  returned  to  Rome, 
in  1377,  the  Vatican  became  their  resi- 
dence and  St.  Peter's  their  chapel  ;  but 
the  Lateran  church  still  retains  its  pri- 
macy as  the  Mother  and  Head  of  Churclies. 
It  was  not  until  the  middle  of  the  xii 
cent.,  however,  that  it  was  dedicated  to 
St.  Jolui  the  Baptist  and  St.  .John  the 
Evangelist,  and  later  still  that  it  assumed 
the  title  that  is  inscribed  upon  it,  '"Sa- 
crosanta  Lateranensis  Ecclesia.  omnium 
urbis  et  orbis  ecclesiarum  mater  et 
caput."  It  is  imjjossible  to  make  out 
clearly  the  history  of  its  vicissitudes, 
alterations,  desjjoilings,  and  rebuildings. 
Sergius  III.  [903-11]  rebuilt  it  in  what 
perhaps  is  the  oldest  form  now  to  be  traced 
in  it.  It  was  a  five-aisled  basilica,  the 
nave  bordered  with  arcades  of  fifteen  great 
columns  on  each  side,  mostly  antique,  the 
aisle  arcades  carried  on  smaller  colunnis 
supported  by  pedestals.  The  transept  and 
apse  followed  the  present  lines,  but  with- 
out the  apsidal  aisle  ;  the  flat  gilded  ceil- 


as? 


ROME 


iug,  already  once  or  twice  renewed,  liad 
given  it  the  name  of  Basilica  Aurea.  The 
triumphal  arch  still  remains.  It  had  an 
open  i)ortic()  in  front,  making  part  of  an 
atrium  wliich  has  disajijiearod,  and  a 
fajade  adorned  with  mosaics.  In  12SQ 
Nicholas  IV.  built  the  double- vaulted  aisle 
with  pointed  windows  about  the  apse,  as 
we  now  see  it,  which  borrows  the  name 
of  the  Leonine  Portico  from  some  older 
structure  not  identified.  It  was  twice 
burned  out  in  the  xiv  cent.,  and  the 
popes  on  their  return  to  Rome  found 
the  jjalacc  in  ruins.  Gregory  XI.  restored 
the  church  ;  Pius  IV.  built  the  two  small 
bell-towers  wliich  still  mark  the  front  of 
the  transept,  and  the  fa9ade  below  them, 
which  is  now  hidden  behind  the  two- 
storied  loggia  that  Fontaua  built  against 
it  for  )Sixtus  V.  The  interior  was  entirely 
rebuilt  in  its  present  form  in  1044—50  for 
Innocent  X.,  by  Borromini,  who,  it  wouhl 
seem,  suppressed  every  third  column  in 
the  arcades  and  walled  up  the  resulting 
couples  into  the  enormous  piers  which  we 
now  see,  and  changed  the  fenestration. 
Finally,  in  173.5,  Alessandro  Galilei  added 
the  superb  double  portico  which  makes 
the  princi]ial  fa(;ade.  (See  Figs.  ISJf,  1S'>.) 
See  also  Lutrran  I'ulurc  and  S.  Giocuitni 
in  Fonte. 

XoTE.  The  cloister  was  built  by  the 
most  talented  Roman  artist  of  his  day, 
Vassallectus,  and  his  father,  and  its  exact 
date  has  only  recently  been  ascertained  to 
be  1227.  It  is  the  prototype  of  that  beau- 
tiful type  of  cloister  with  elaborate  deco- 
ration in  stucco  and  mosaic;  work,  and 
with  donlile  twisted  colonnettes  sustaining 
panelled  round  arches,  which  was  even 
then  termed  the  Roman  stvle.  [A.  L.  F., 
Jr.] 

SS.  GiovAXXi  K  Paolo.  Tiiis  very  old 
church,  attached  to  a  Passionist  convent, 
stands  on  the  brow  of  the  Crolian  Hill. 
It  is  a  three-aisled  basilica  without  tran- 
sept, the  nave  ending  in  an  apse.  It  has 
a  vestibule  across  the  front,  showing  eight 


anti(jue  columns,  and  it  is  one  of  the  few 
churches  in  Rome  that  have  a  gallery  in  a 
.second  story  across  the  front  of  the  nave, 
over  a  narthex.  The  interior  was  entire- 
ly modernized  in  1720,  but  still  shows 
against  its  grouiDed  pilasters  the  sixteen 
granite  columns  with  composite  caps  that 
bore  its  original  arcades,  and  the  apse  re- 
tains outside  its  Lombard  arcaded  eaves- 
gallery,  the  only  one  in  Rome.  The 
church  was  founded  by  Pammachus  before 
400,  it  is  said,  and  was  restored  by  Sym- 
machus  at  the  end  of  the  v  century.  It 
was  rebuilt  under  Adrian  IV.  (1154-59), 
when  the  vestibule  and  probably  the  ar- 
caded apse  were  built.  The  detached  bell- 
tower  is  mentioned  as  early  as  thevii  cen- 
tury. It  has,  in  its  in-eseut  form  at  least, 
three  stories  of  quadruple  windows. 

S.  GiovANXi  IX  Porta  Latixa  is  a 
small  basilica  of  the  viii  cent.,  close  by  the 
old  gate  from  which  it  is  named.  The 
ojien  porch  across  its  front  had  an  arcade 
of  seven  arches,  four  of  which  are  walled 
up,  resting  on  irregular  Corinthian  col- 
umns. It  has  a  nave  and  aisles,  with- 
out a  transept,  with  an  apse  of  Byzantine 
form,  unusual  in  Rome,  three-sided  with- 
out and  round  within,  which  is  exteiuled 
into  a  choir  by  walling  off  the  ends  of  the 
transept.  The  nave,  25  ft.  by  75  ft.,  has 
round  arcades  of  six  bays  on  ten  various 
antique  Corinthian  columns.  The  church 
was  built,  or  rebuilt,  by  Adrian  I.  (772- 
7!t5),  but  the  interior  has  been  modern- 
ized by  various  restorations,  mainly  under 
Cardinal  Rasponi  in  1086.  The  lower 
})art  of  the  line  mediieval  bell-tower  prob- 
ably dates  from  Adi-ian. 

S.  Giuseppe  ue"  Faligxaiii.  See 
Mamertine  Prisons. 

S.  Gregoiuo  de'  Camaldoi.ex.si.  See 
S.  (Iregorio  Mof/no. 

S.  Gkegokio  Magx'o.  Of  the  church 
liuilt  originally  by  Gregory  II.,  in  the 
VIII  cent.,  on  the  site  of  the  countiT- 
house  of  (rregory  the  Great,  and  of  the 
monasterv  which  he  founded  on  the  slojje 


ROME 


of  theCcelian.  little  remains.  The  atrium 
was  rebuilt  and  its  facade  added  in  1033 
by  Cardinal  liorgliese,  from  the  designs  of 
Giovanni  Battista  Soria,  and  finally  in  the 
XVIII  cent.,  under  Clement  XL,  the  whole 
church  was  entirely  remodelled  by  the 
monks.  The  works  were  finished  in  1T34. 
by  the  architect  Francesco  Ferrari.  The 
church  occupies  a  commanding  position  on 
the  hillside,  and  is  approached  by  a  triple 
range  of  steps  of  the  full  breadth  of  the 
front,  enclosed  between  high  garden  walls. 
The  fa9ade  of  the  atrium  is  in  two  stages, 
each  with  an  order  of  coupled  pilasters, 
Ionic  below  and  Corinthian  above,  the 
ujiper  order  raised  on  a  bahistrade-coiirse 
and  covered  with  a  pediment.  The  lower 
story  is  an  ojDcn  arcade  ;  in  the  second  are 
three  square  windows  with  pedimeuted 
caps.  The  atrium,  30  ft.  by  00  ft.,  is  sur- 
rounded by  vaulted  arcades,  from  the  far- 
ther of  which  three  doorways  enter  the 
church,  which  is  72  ft.  wide  and  112  ft. 
long,  the  uave  separated  from  the  aisles  by 
massive  jjiers  faced  with  an  order  of  pilas- 
ters, and  flanked  by  the  columns  of  a  sub- 
order, whose  shafts  of  Egyptian  granite 
perhaps  carried  the  arcades  of  the  origi- 
nal church.  The  aisles  are  divided  by 
transverse  arches  into  four  square  bays, 
each  covered  by  a  low  dome.  The  nave 
terminates  in  a  square-ended  choir  ;  the 
aisles  have  apsidal  terminations,  occupied 
as  chapels.  Adjacent  to  the  church  is  an 
enclosure  ending  in  three  sides  of  an  octa- 
gon, from  which  radiate  three  small 
chapels  connected  in  a  group  by  an  open 
portico  of  four  Corinthian  columns,  which 
crosses  the  front  of  the  middle  one. 
Dedicated  to  S.  Andrea,  Sta.  Barbara, 
and  Sta.  Silvia,  they  were  built  originally 
by  Gregory  I.,  but  since  rebuilt.  The 
lateral  ones  have  round  ajDses,  the  middle 
one  a  square  end.  Their  architecture  is 
very  simple,  but  two  are  lavishly  painted 
within,  the  middle  one,  St.  Andrew's, 
with  the  noted  frescoes  painted  in  rivalry 
by  Guido  and   Domenichino.      The  main 


church  is  jiojnilarly  known  as  S.  Gregorio 
dei  Camtildolensi,  from  the  Camaldolese 
monks  into  whose  possession  it  passed  in 
the  XVI  century. 

S.  Ignazio  forms  an  important  portion 
of  the  extensive  buildings  of  the  Collegio 
Eomauo  (</.  v.),  although  the  church  was 
finished  a  century  later  than  the  remain- 
ing portions.  Its  corner-stone  was  laid 
by  Cardinal  Ludovisi  in  1020,  but  it  was 
only  completed  in  1085.  The  design  was 
adapted  by  Father  Grassi  from  two  designs 
of  Domenico  Zampieri  (Domenichino), 
the  i)ainter.  The  plan  is  a  Latin  cross 
about  150  ft.  by  250  ft.  The  rather  heavy 
fa9ade  added  by  Alessandro  Algardi  has 
two  superposed  Corinthian  orders  of  col- 
umns and  pilasters,  with  scroll-buttresses 
over  the  aisles,  and  doors  and  windows  sur- 
mounted by  pediments.  The  nave,  about 
58  ft.  wide  and  130  ft.  long,  is  covered 
by  a  barrel-vault  and  divided  into  three 
oblong  bays  by  double  transverse  arches 
springing  from  massive  piers,  faced  with 
coupled  Corinthian  columns  which  carrv 
an  entablature  above  the  great  nave  arches 
which  spring  from  the  detached  columns 
of  a  sub-order.  The  aisle  bays  are  square, 
forming  distinct  chapels,  each  covered  by 
a  round  dome.  The  transept,  as  broad  as 
the  nave,  does  not  project  beyond  the 
aisle  w'alls.  Instead  of  the  exterior  dome 
which  was  intended,  the  observatory  of  the 
Jesuit  Fathers  covers  the  crossing,  which, 
however,  feigns  within  a  dome  elaborate- 
ly painted  with  architectural  compositions 
by  Andrea  Pozzi,  one  of  the  fathers,  who 
also  covered  the  vault  of  the  nave  with 
a  wild  and  illusive  architectural  comjio- 
sition.  The  choir  is  a  single  rectangu- 
lar bay  with  a  fine  semicircular  tribune, 
flanked  by  two  chapels  similar  to  those  of 
the  aisles.  The  church  is  very  rich  in 
marbles  and  bronzes,  and  in  color  decora- 
tion. 

S.  Ivo.     See  La  Snpienza. 

St.  Joiix  Lateuax.  See  S.  Giovanni 
in  Laferano. 


3S9 


EOME 


S.  LoKENZO  IN  Damaso,  wliii'li  oc- 
cupies tlie  situ  aud  j'l'ohably  the  t'ouiula- 
tioiisof  the  original  basilica  of  I'ope  Da- 
niasus  I.  (liGO-S-t),  was  eutirely  rebuilt 
with  the  palace  of  the  Caiicelleria  {q.  v.), 
and  is  concealed  behind  its  fa(;ades.  'Die 
design  is  simple  and  admirably  treated — 
a  nave,  50  ft.  by  80  ft.,  preceded  by  a  deep 
narthex,  surrounded  on  tlireo  sides  by  a 
vaulted  aisle,  antl  ending  in  a  choir  of  one 
straight  bay  and  an  apse.  The  arcades  of 
tlie  aisle,  in  five  bays  lengthwise  aud  four 
across,  are  carried  on  pilasters  with  pedes- 
tals. A  straight  entablature  above  the 
arches  bears  a  panelled  attic,  and  this 
originally  carried  a  barrel -vault  liroken 
by  a  central  dome.  These  have  been  re- 
placed In"  a  clerestory  of  round-headed  win- 
dows on  the  south,  balanced  l)y  painted 
panels  on  the  north,  above  which  is  a 
flat  colfercd  ceiling.  The  apse  of  the 
choir  is  lighteil  by  a  semicircnlar  eye, 
and  adorned  witii  balconied  loggie  like 
pi'oscenium  bo.xes. 

S.  Lorenzo  fuoui  le  mura  (St.  Law- 
rence outside  the  walls).  Tiiis  early  and 
venerable  church,  one  of  the  live  great 
patriaichal  ijasillcas,  so  called,  is  a  com- 
posite of  two  churches  of  different  dates, 
the  older  serving  now  as  the  presbytery, 
or  choir,  and  the  later  as  the  nave;  the 
wiiole  making  a  great  basilica  without 
transept,  2G0  ft.  long  by  73  ft.  wide.      It 


a  straight  entablature  with  bracketed  cor- 
nice, whose  frieze  is  occujjied  by  flat  re- 
lieving arches.  Above  the  arcades  is  a 
high  jjlain  wall,  pierced  with  round-arched 
windows,  covered  with  modern  paintings, 
and  carrying  a  modern  open  roof.  Tiie 
older  church  continues  the  lines  of  the 
nave  westward  on  a  different  level.  Its 
floor,  as  appears  in  the  aisles  and  in  the 
old  vestibule  that  ca'osses  the  rear,  is  much 
lower  than  that  of  the  nave.  But  when 
the  churches  were  joined,  the  floor  of  this 
2)art,  taken  as  the  presbytery,  was  raised 
several  feet,  bringing  it  aljove  the  level  of 
the  nave,  and  the  crypt  built  under  its 
central  part,  the  former  nave.  It  is  bor- 
dered by  ten  fine  antique  Corinthian  col- 
umns of  jiavonazzetto,  and  two  of  white 
marble,  which  carry  an  entablature  built 
of  irregular  fragments  of  ancient  build- 
ings, and  above  this  an  arcaded  upper 
aisle  or  women's  gallery,  with  smaller 
Corinthian  columns  and  cushion-shajied 
stilt-blocks  under  the  arches.  The  gallery 
crosses  the  rear  end  of  the  church,  and  the 
upper  wall  is  occupied  by  modern  jianel- 
ling  and  round-arched  clerestory  windows. 
The  old  triumphal  arch  divides  the  two 
parts  of  the  church  ;  the  wall  over  it  is 
adorned  on  the  side  toward  the  choir  with 
the  old  mosaics,  rejiresenting  Christ  and 
St.  I'eter,  St.  Paul,  St.  Lawrence,  and  I'e- 
lagius,  the  restorer  of  the  church  ;  on  that 


has  now  no  atrium  ;  its  eastward  front  is  toward  the  lower  nave  with  modern  paint- 
crossed  by  a  deep  open  porch  with  a  co-  ings.  In  its  spandrels  arc  still  two  of  the 
lonnade  of  si.x  old  Ionic  columns  on  low  (jriginal  rear  windows,  filled  with  perfo- 
pedestals,  carrying  an  entablature  adorned  rated  slabs  of  marble.  In  the  ])rcsbytery, 
with  early  sculpture  and  mosaics,  above  over  the  high  altar,  stands  the  old  cibo- 
which  rises  the  front  of  the  nave,  recently  rium  with  four  columns  supporting  a  gal- 
painted  with  imitations  of  old  mosaic,  lery  of  colonnettes,  above  which  is  an  oc- 
The  rest  of  the  outside  is  entirely  plain,  tagonal  canopy.  Below  is  the  confessio, 
and  against  its  northern  flank  rises  a  bell-  containing  the  remains  of  St.  Lawrence, 
tower  of  the  xii  cent.,  with  five  stories  of  St.  Steplien.  and  St.  Justin  ;  it  has  ]irob- 
coupled   windows  under  round    inclosing  ahly   been  undisturbed  since  tlie  earliest 


arches.  The  nave,  of  3(j  ft.  clear  width 
and  125  ft.  long,  has  on  each  side  eleven 
antique  Ionic  ('olumns,  of  unequal  size, 
some  granite,  and  some  ci^JoUino,  bearing 


days  of  the  church.  An  inscription  claims 
the  ciborium  as  the  work  of  the  sons  of 
one  I'aulus  in  1148.  The  presbytery  is 
floored   with  a  rich  mosaic  pavement  of 


390 


ROME 


opu><  Alexandrinuin.  wliirli  i.<  coiitiiuu'cl  in 
part  ill  tlic  middle  oi'  the  nave.  At  the 
back  of  the  church  is  the  attlwdni,  or 
bishop's  chair,  not,  as  usual,  filling  the 
back  of  an  apse,  for  there  is  no  apse,  the 
church  having  a  square  end  and  cross- 
aisle.  The  chair  stands  at  the  end  of  the 
presbytery,  occupying  the  middle  of  a 
broad  screen  of  rich  marbles  and  mosaic, 


ing  a  roof  of  stone  slabs.  The  liistory  of 
the  church  is  very  difiicult  to  unravel.  It 
is  known  to  have  been  founded  under  Con- 
stantiue  before  330,  and  was  altered  or  re- 
built many  times — by  Sixtus  III.  in  432- 
40,  who  adorned  the  confessio  with  silver 
and  built  a  crypt  about  it ;  by  Pelagius 
II.  in  580  ;  by  Adrian  I.  in  the  viii  cent. ; 
by   Sergius   II.    (844-T)  ;    again    in    the 


and  is  flanked  by  benches  for  the  clergy. 
In  the  nave  below,  on  either  side,  are 
marble  ambones.  that  on  the  left  side  be- 
ing like  the  cathedra  in  style  and  beauty, 
in  whicb  no  others  in  Rome  equal  them. 
An  inscription  on  the  back  of  the  chair  gives 
tlie  date.  12.54.  Both  the  chair  and  tlie 
south  ambo  belong  in  style  to  the  work  of 
the  Cosmati,  famous  Roman  mosaicists  of 
the  XIII  century.  Under  tlie  floor  of  the 
presbytery  is  a  considerable  crypt,  in  three 
aisles  separated  by  marble  columns  carry- 


middle  of  the  XII  cent,  and  in  the  xiii. 
The  best  conclusion  seems  to  be  that  the 
church  of  the  time  of  Constantine  stood 
where  the  nave  now  stands,  fronting  the 
east,  like  all  the  earliest  churches,  with  a 
western  ap.se  behind  which  was  the  tomb 
of  the  saint,  and  the  original  confessio  ; 
that  Pelagius  built  a  second  smaller  basil- 
ica behind  the  first,  facing  westward  and 
with  an  apse  including  the  confessio. 
That  basilica  is  probably  the  present  pres- 
bytery, and  its  front  the  straight  rear  wall 


391 


ROME 


of  the  clunrli  as  it  now  is.  Adrian  I. 
probably  rebuilt  the  nave  and  threw  the 
two  churches  into  one,  closing  the  western 
door.  The  cloister  which  adjoins  the 
church  on  the  north  has  been  ascribed  to 
the  time  of  Cnement  III.  (1290),,  but  is 
likely  to  be  older.  It  has  triple  arches  in 
brickwork,  and  shafts  with  rough  corbel 
capitals.  The  church  lias  been  considera- 
bly restored  in  this  century.   {See  Fig.  186. ) 

S.  LouENzo  IX  LucixA  is  a  very  old 
church,  whose  foundation  has  been  as- 
cribed to  St.  Lucina,  in  the  i  cent.,  and 
which  in  history  goes  back  to  Sixtus  III., 
at  the  middle  of  the  v  century.  It  was  a 
three-aisled  basilica,  of  which  still  remain 
the  apse  and  parts  of  the  clerestory  wall, 
with  outside  pilaster-strips  and  arcading, 
the  first  aijpearauce  in  Rome  of  a  form 
unusual  there.  It  was  renewed  in  the 
XII  cent.,  and  retains  the  six  granite  col- 
umns of  the  mcdia3val  porch,  but  was  en- 
tirely built  over  and  disguised  at  the  be- 
ginning of  the  XVII  cent.,  under  Paul  V. 
The  bell-tower  is  one  of  the  oldest  in 
Rome,  at  least  the  jilainer  lower  stories 
with  single  windows,  while  the  two  upi^er 
stories,  with  grouped  windows,  may  date 
from  the  time  of  Adrian  I.  (TT'^-iO.")). 

S.  LoKKXzo  IX  iliKAXDA.  Sce  Temple 
of  Antoiiinus  and  Faustina. 

S.  Maik'O,  an  interesting  church  in- 
cluded within  tlie  precincts  of  the  Palazzo 
di  Venezia  {q.  r. ),  built  about  330  by  Pope 
Mark  I.,  and  dedicated  to  his  patron 
saint;  restored  in  772,  by  Adrian  I.,  and 
again  in  883,  by  Gregory  IV.,  by  whom  it 
was  extensively  adorned  with  mosaics.  In 
]4G,s,  when  the  great  palace  was  built  by 
Paul  II..  the  church  was  practically  re- 
built, ami  little  of  the  original  building 
remains.  Its  plan  is  that  of  a  basilica 
whose  external  dimensions  are  about  75 
ft.  by  -ZW)  ft.,  with  a  nave  about  35  ft. 
broad  and  105  ft.  long,  approached  by  an 
open  vaulted  three-arched  loggia  in  front, 
separated  from  the  aisles  by  the  nine 
original  columns  of  jasper  on  each  side. 


against  which  piers  have  been  built,  with 
arches  in  the  intervals,  the  aisles  divided 
into  square  groined  bays  and  flanked  l)y 
niches  alternately  square  and  round,  the 
nave  covered  with  a  wooden  ceiling  with 
deep  ilecorated  panels.  Beyond  the  nave 
is  a  transept  with  vaulted  arms,  and  be- 
vond  this  a  semicircular  tribune  with  a 
spherical  semi-dome,  covered  with  the 
original  IX  cent,  mosaics.  The  pavement 
of  the  nave  and  aisles  is  some  steps  be- 
low the  street ;  that  of  the  transept,  which 
serves  as  choir,  is  raised  to  allow  of  the 
crvpt  l)eneath,  in  which  is  preserved  the 
body  of  the  founder.  The  aisles  have 
side  entrances,  the  one  from  the  great 
court  of  the  palace,  the  other  from  one  of 
its  corridors.  The  fayade,  added  at  the 
time  of  the  rebuilding  by  Paul  II.  from 
the  designs  of  Giuliano  da  Majano,  is  in 
two  stages,  the  first  consisting  of  three 
open  round  arches  in  the  intervals  of  an 
order  of  engaged  Ionic  columns  ;  the  sec- 
ond of  corresponding  blind  arches  in  an 
order  of  flat  Corinthian  pilasters,  the  in- 
tervals having  each  a  square-headed  win- 
dow, with  a  circular  window  above  in  the 
arch-head. 

Sta.  Maiua  degli  Axgeli,  one  of  the 
most  interesting  and  successful  examples 
of  the  adaptation  of  an  ancient  classic 
building  to  modern  uses.  Among  the  ex- 
tensive ruins  of  the  Baths  of  Diocletian 
was  a  great  rectangular  hall,  about  78  ft. 
wide  and  190  ft.  long,  roofed  with  a 
groined  vault,  of  which  the  crown  was  93 
ft.  above  the  pavement.  The  masonry 
both  of  walls  and  vault  was  in  good  con- 
dition, and  Pius  IV.  determined  to  con- 
vert the  hall  into  a  Christian  church. 
The  work  was  done  by  Michael  Angelo. 
Eight  noble  columns  of  oriental  granite, 
more  than  5  ft.  in  diameter,  still  standing 
along  the  sides  of  the  hall  with  their 
blocks  of  entablature,  formed  the  basis  of 
the  new  design,  an  enriched  Corinthian 
order  encircling  the  church.  The  hall 
was  lengthened  to  nearly  300  ft.   by  the 


392 


ROME 


addition  of  a  square  clioir  at  one  end  and 
a  corresponding  bay  at  tlie  otlier,  and 
short  transept  arms  were  added  opening 
from  the  centre.  Unfortunately  for  the 
architecture,  tlae  dampness  of  the  situa- 
tion obliged  or  induced  Michael  Angelo 
to  raise  the  floor  6  or  8  ft. ,  shortening 
the  columns  and  injuring  the  j'l'o- 
portion  of  the  order.  Two  centuries 
later,  under  Benedict  XIV.,  great 
changes  were  made  in  this  simple  and 
grand  interior.  Under  the  direction 
of  the  architect  Vanvitelli,  the  tran- 
sept was  doubled  in  length  by  the  ad- 
dition of  a  long  choir  and  tribune  on 
one  side,  and  the  connection,  on  the 
other  side,  with  the  church  of  a  cir- 
cular hall  58  ft.  in  diameter,  a  lacon- 
icKiii  or  hot  chamber  of  the  ancient 
baths.  The  original  nave  of  Michael 
Angelo  thus  became  tlie  transept  of 
the  newer  cliurch,  of  which  it  forms  by 
far  the  noblest  portion.  An  extensive 
Carthusian  monastery  was  established 
within  the  area  formerly  occupied  by 
the  baths,  its  buildings  surrounding  a 
great  cloister  275  ft.  square,  enclosed 
by  vaulted  arcades  in  one  story  sup- 
porting a  low  attic,  from  Michael  An- 
gelo's  design.  According  to  the  plan, 
three  sides  of  this  court  were  to  be 
suri'ounded  by  the  individual  dwellings  of 
the  monks,  entered  from  the  arcades  of 
the  cloister  and  provided  each  with  its 
small  garden.  The  plan  remains  incom- 
plete, only  one  range  of  dwellings  having 
been  built.     {See  Fiy.  187.) 

Sta.  Maria  dell'  Anima.  An  inter- 
esting Renaissance  church  of  the  early  xv 
cent.,  founded  by  a  German  or  Fleming 
in  connection  with  a  hospital  which  still 
exists,  but  enlarged  and  essentially  changed 
a  century  later  under  the  partial  direc- 
tion of  Bramante.  Its  plan  is  singular, 
the  breadth  of  the  nave  and  aisles  being 
equal  to  their  length,  about  TS  ft. ;  tliey 
are  divided  into  four  bays  whose  height  is 
equal  in  nave  and  aisles,   the  bays  of  the 


latter  being  groined,  while  those  of  the 
nave  are  covered  by  a  (latter  vault  inter- 
sected by  the  cross-vaults  that  rest  on  the 
round  arches  of  the  nave,  which  sjiring 
from  grouped  pilasters  standing  on  ped- 
estals  and   crowned   with   blocks   of   en- 


F.g.  137,^Rome,  S.  M.  deg.i  Angeli. 

tabhiture.  From  each  bay  of  the  aisle 
opens,  by  a  great  arch  as  high  as  those  of 
the  nave,  a  chaiiel  of  which  the  plan  is  a 
semi-ellipse,  while  from  the  extremity  of 
the  nave  a  single  round  arch  opens  into  a 
square  choir  covered  by  a  flat  ceiling,  with 
a  cove  pierced  b}'  two  lunettes  on  each 
side,  and  terminating  in  a  round  vaulted 
ai5se.  The  j^alace-like  facade,  said  to 
date  from  1522,  and  attributed  to  Antonio 
da  Sangallo,  is  a  square  about  78  ft.  wide 
and  high,  without  a  gable,  in  three  stages, 
each  caged  in  a  thin  order  of  Corinthian 
pilasters,  the  i:)ilasters  coupled  at  the 
angles,  the  intervals  of  the  first  stage  occu- 
jiied  by  three  doorways  under  Corinthian 
orders  with  pediments. 


ROME 


Sta.  Maima  IX  Ahaceli  (Ara  Cct'li). 
a  spacious  basilica,  probably  of  the  x 
cent.,  stands  on  the  brow  of  the  C'apito- 
liiie  Hill.  In  spite  of  its  commanding 
position  it  is  much  concealed  by  the  ad- 
joining convent  and  the  Caj)itoline  Muse- 
um. It  is  at  the  top  of  a  long  flight  of 
stairs  built  of  one  hundred  and  twenty- 
four  steps,  taken  in  lloSfrom  the  steps  of 
the  temple  of  Quirinus.  The  exposed 
fa5ade,  of  bai'e  brick,  stripped  of  the 
mosaic  which  probably  once  covered  it,  is 
only  pierced  with  three  doors  and  two 
trivial  round  windows.  The  broad  nave, 
•50  ft.  by  1(10  ft.,  has  round-arched  ar- 
cades resting  on  twenty-two  ancient  col- 
umns of  different  orders  and  uneven  size, 
and  a  horizontal  coffered  ceiling.  The 
aisles  are  groin-vaulted  and  lined  with 
modern  chapels  ;  the  old  pointed  windows 
of  the  clerestory  have  been  rei)laced  by 
large  square-headed  ones  over  alternate 
arches.     The    transept,    raised  somewhat 


above  the  nave,  extends  unbroken  the  full 
width  of  the  lateral  chapel.s,  and  the  orig- 
inal apse  is  replaced  by  a  deep  moder?i 
square-ended  sanctuary  or  choir,  flanked 
by  chajiels.     Against  the  piers  at  the  tri- 


umphal arch  stand  two  remarkable  ambones 
in  the  style  of  the  Cosmati,  which  once 
stood  each  side  of  the  nave.  One  bears  an 
inscription  claiming  it  as  the  work  of  Lau- 
rencius  (Lorenzo),  who  founded  the  family 
of  the  Cosmati  at  the  end  of  the  xii  cent., 
and  his  son  Jacobus.  The  puljjits  are 
richly  adorned  with  twisted  columns,  and 
disks  and  panels  of  colored  marbles  and 
fine  mosaic.  In  the  left  arm  of  the  tran- 
sept stands  an  octagonal  canopy  over  the 
jjosition  ascribed  to  the  altar  of  Augus- 
tus, from  which  the  name  of  the  church 
is  commonly  deduced,  and  under  it  is  a 
receptacle  of  porjihyry  which  once  con- 
tained, it  is  said,  the  ashes  of  St.  Helena. 
There  is  dispute  over  the  early  history 
and  date  of  the  church,  some  authorities 
assigning  it  to  the  xiii  cent.,  and  others 
setting  it  as  early  as  the  vi ;  but  probability 
favors  the  record  cited  by  Mothes,  that  it 
was  founded  in  988  by  the  jiatrician  C'res- 
centius.  i?uilt  for  the  sjiecial  use  of  the 
IJoman  Senate,  and  orig- 
inally called  S.  M.  in 
t'apitolio,  it  was  in  the 
hands  of  the  Benedic- 
tines and  was  restored 
under  them  in  the  xii 
cent.;  its  mediaeval  as- 
jiect  dates  from  the  mid- 
die  of  the  XIII  cent., 
when  Innocent  TV.  trans- 
ferred it  to  the  Francis- 
cans, who  have  since 
iield  it  and  the  adjoining 
convent.  Leo  X.  (l.'tl.'S- 
-i'i)  made  it  the  titular 
cliurch  of  a  cardinal  at 
about  the  time  when  the 
present  gilded  ceiling 
was  added  to  the  nave. 
It  has  been  believed  that 
the  church  occupied  the  site  of  the  van- 
ished temple  of  Jupiter  Capitolinus  ;  re- 
cent discoveries,  however,  have  convinced 
most  archa'ologists  that  the  teni]ile  (q.  r.) 
stood  on  the  southern  summit  of  the  hill, 


394 


EOME 


wliile  the  Araceli  covers  the  origimil  ;irx 
or  citadel.  A  second  high  flight  of  stejjs, 
between   the  Museum  aud  tlie  Pahice  of 


to   a    handsome     six  eolu 


the  Senator,  leads  up 
quasi-Doric  arcaded  por- 
tico, believed  to  be  the 
work  of  Vignola,  whioli 
gives  entrance  to  the 
convent  and  its  cloister 
behind  the  church.  (See 
Figs.  166,  ISS.) 

Sta.  Makia  IX  (Jos- 
MEDIJC,  a  basilica  built 
into  the  ruins  of  a  tem- 
ple identified  as  the  tem- 
ple of  Ceres,  Liber,  and 
Libera.  Its  early  historv 
is  obscure  :  it  is  reiiorteil 
as  built  in  the  iv  cent, 
by  Damasus,  and  refitted 
in  the  vi  by  Belisarius 
for  a  Grecian  colony  or 
school ;  and  was  rebuilt 
about  780  by  Adrian  L , 
to  whom  its  present  form  is  most  like- 
ly due.  It  is  about  55  ft.  by  100  ft., 
and  has  a  nave  and  aisles  without  tran- 
sept, each  ending  in  an  apse.  Its  struct- 
ure is  jieculiar,  its  nave  being  bordered 
not  by  continuous  colonnades,  but  by 
groups  of  arches  in  fours  and  tlirecs  sejo- 
arated  by  piers  of  plain  wall,  and  so  is 
one  of  the  earliest  instances  of  the  alter- 
nation of  different  siipports  which  bo- 
came  the  habit  in  Lombard  and  German 
churches,  but  has  an  example  in  the  prob- 
ably earlier  Greek  church  of  St.  Deme- 
trius, at  Thessalonica.  The  columns  of 
the  nave  are  mostly  antique  and  irregu- 
lar, with  capitals  of  various  forms. 
Others,  apparently  remaining  in  place 
from  the  peristyle  of  the  original  temple, 
are  built  into  the  outer  walls.  The  luive 
is  considerably  changed,  by  covering  the 
walls  with  Eenaissance  ornament  in  paint 
and  stucco,  and  by  the  insertion  of  a 
tunnel-vault  beneath  the  old  timber  roof. 
The   choir,    which    extends   a   good   way 


into  the  nave,  is  somewhat  raised  above 
the  cry])t.  This  is  itself  a  miniature 
church,  with  nave  and  aisles  divided  })y 
and  a  pair  of  piers,  a  tran- 


nins 


sept,  and  an  apse.  Its  ceiling  is  of  flat 
stones,  and  its  walls  on  three  sides  are 
sunk  into  niches.  The  nave  of  the  main 
church  retains  most  of  its  old  pavement 
of  opus  Aleiandrinvm.  or  stone  mosaic, 
as  does  the  choir.  Over  the  high  altar  is 
a  handsome  Gothic  ciborium  borne  on 
classic  columns ;  behind  it,  at  the  back  of 
the  apse,  the  ancient  episcopal  chair ; 
and  in  front,  at  the  sides  of  the  choir, 
two  ancient  ambones,  enriched  with  mo- 
saics. The  uarthex  crossing  the  front  was 
remodelled  in  stucco  (1718)  by  Giuseppe 
Sardi,  in  the  degenerate  style  of  his  time, 
and  a  frontispiece  built  before  the  nave. 
The  bell-tower,  which  stands  against  the 
right,  or  southwestern,  aisle,  is  one  of  the 
most  interesting  of  the  early  Koman  cam- 
panile, and  unusually  tall,  being  110  ft. 
high  or  more.  It  has  been  ascribed,  like 
the  Ijody  of  the  church,  to  the  time  of 
Adrian  I.,  but  probably  at  least  the  upper 
five  of  its  many  stories,  with  trij)le  windows 
divided  by  shafts,  belong  to  the  xii  cen- 


395 


KOME 


tury.  In  a  corner  of  tlu;  vaulted  uarthex 
an  antique  mask,  probably  from  some  au- 
cient  fountain,  is  fixed  in  the  wall,  and 
gives  tlie  church  its  2)oinilar  name  of  La 
Bocca  della  Veritil,  from  a  tradition  that  its 
jaws  will  close  on  the  hand  of  a  false  wit- 
ness. The  small  early  porch  in  front  of 
the  nartliex.  a  single  groined  bay  resting 
on  four  ancient  columns,  is,  like  the  rest 
of  the  fa9ade,  disguised  by  the  alterations 
of  Sardi.  Pliny  says  that  the  original 
tem2)le.  which  was  one  of  the  richest  in 
Rome,  founded  494  B.C.,  was  the  first  in 
Rome  to  l)e  decorated  by  Greek  artists  ;  its 
mural  paintings  wei-e  especially  admired, 
anil  were  carefully  removed  when  the 
temple  was  rebuilt  by  Augustus  and  Ti- 
berius.    {See  Fiij.  ISO.) 

Sta.  Mauia  in  Domnica,  or  della 
Navicella,  is  a  basilica  of  the  first  half  of 
the  VI  cent.,  rebuilt  under  Paschal  I.  in 
the  IX,  ami  restored,  it  is  said,  by  Raphael. 
It  has  a  wide  nave  (3G  ft.),  with  a  flat 
ceiling,  arcades  resting  on  nine  antique 
granite  columns  on  each  side,  and  narrow 
vaulted  aisles.  There  is  no  transept ;  the 
triumphal  arch,  borne  by  two  columns  of 
porjihyry,  opens  into  the  apse,  or  tribune, 
which  retains  the  original  mosaics  of 
Pasehal's  time,  lender  the  raised  choir, 
which  is  carried  out  into  the  nave,  is  the 
usual  confessio.  The  two  small  apses  at 
tlie  ends  of  the  aisles  are  perhaps  later 
than  the  principal  one.  The  walls  of  the 
nave  above  the  clerestory  are  painted  by 
Raphael's  assistants.  The  front  has  a  low 
oijen  porch  or  loggia,  of  five  arches  and 
an  order  of  tall  Tuscan  pilasters  on  ped- 
estals. The  popular  name  La  Navicella 
is  given  by  a  marble  model  of  a  galley, 
said  to  be  copied  from  an  antique,  placed 
in  front  of  the  church  by  Leo  X. 

Sta.  Mauia  Egiziaca.  See  Temple  of 
Fortuna  Virilis. 

Sta.  Ma lu A  ni  Lokkto,  a  Renaissance 
church  built  by  tlie  community  of  bakers, 
commenced  about  L507.  from  the  designs 
of    Antonio    Sangallo    the    vounger,    and 


finished  in  1.JS0  under  Giacomo  della 
Duca.  Its  plan,  dictated  by  the  limits  of 
the  site,  is  singular,  consisting  of  a  square 
of  about  OU  ft.  with  a  trapezoidal  addition 
about  70  ft.  deep,  containing  the  choir 
and  sacristy  with  their  accessories.  The 
square  portion  is  finished  internally  as  an 
octagon,  with  semicircular  niches  in  the 
four  corners  of  the  square  occupied  as 
chapels,  three  other  sides  having  entrance 
doorways,  and  the  remaining  side  occupied 
by  the  great  arch  of  the  choir.  This 
space  is  covered  by  a  dome,  raised  on  a 
drum  supported  by  an  order  of  Corin- 
thian pilasters  with  arches  between.  The 
choir  is  a  rectangle  about  'i'i  ft.  wide  and 
30  ft.  deep,  and  behind  it  is  the  sacristy, 
with  recesses  of  varying  depth  in  its  sides. 
The  choir  is  covered  with  a  fine  barrel- 
vault  panelled  in  caissons,  and  with  a  semi- 
circular window  under  the  vault,  over  the 
roof  of  the  sacristy.  The  fa(;ade  is  in  two 
stages,  the  lower  having  a  fine  order  of 
coupled  Corinthian  pilasters  on  a  high 
stylobate.  In  the  middle  interval  is  an 
arch,  enclosing  a  high  square  doorway  with 
pedimented  cap  on  consoles  ;  the  side  in- 
tervals are  occupied  by  niches.  The  upper 
portion  of  the  exterior,  thougli  pictu- 
resquely composed  with  its  dome  and  cu- 
pola, is  disfigured  by  fantastic  and  extrav- 
agant ornament. 

Sta.  ^Iakia  MAfiCUOKE,  one  of  the  five 
patriarchal  basilicas,  called  also  the  Li- 
berian  Basilica,  stands  in  a  commanding 
]iosition  on  the  crown  of  the  Esquiline 
Hill,  surrounded  by  an  open  square,  and 
is  the  third  in  importance  of  the  Roman 
churches.  The  original  church,  of  the  iv 
cent.,  is  so  built  about  with  modern  addi- 
tions that  nothing  of  its  early  character 
appears  without.  The  exterior  is  of  trav- 
ertine. Its  principal  front,  before  which 
stands  a  great  column  from  the  Basilica  of 
Constantine  bearing  a  figure  of  the  Virgin, 
.set  up  by  Paul  V.,  is  a  palatial  fayade  in 
several  stories.  350  ft.  long  and  lUO  ft. 
high,  filled    with    windows   and    pilasters 


SM! 


ROME 


and  crowned  by  a  lovol  halustradc  in  the 
baroco  style  of  the  middle  of  the  xviii 
century.  From  the  centre  projects  as  it 
were  the  front  of  an  ordinary  Italian 
church,  in  two  stories — an  Ionic  order 
of  five  bays  below  with  horizontal  en- 
tablature, narrowing-  to  thri'e  bays  above 
of  a  Corinthian  order  with  arcades,  the 
whole  adorned  with  engaired  columns, 
grouped  pilasters,  lirokeu  pediments,  and 


of  the  two  great  hiteral  i-Iiapels  beyond  it. 
The  rear  facade,  rising  behind  an  impos- 
ing flight  of  steps  from  the  slope  of  the 
hill,  is  of  the  previous  century,  and  more 
interesting.  It  is  also  palatial,  but  treat- 
ed in  two  stories,  with  a  lofty  order  of 
Corinthian  pilasters  below,  and  a  high  at- 
tic and  plain  pilasters  above.  The  great 
apse  of  the  tribune  projects  from  the  mid- 
dle, and    the  cupolas  of  the  cha^jels  make 


Fig.  190 — Rome.  S.  M.  Maggiore,  Rear. 


statues.  This  covers  the  original  narthe.x. 
Behind  and  under  it  may  still  be  seen  the 
upper  part  of  the  old  front  of  the  church, 
and  its  coating  of  handsome  mosaics, 
signed  by  Phillippus  Rusutus,  in  1.31T, 
and  continued  by  (iaddo  (Jaddi.  From 
the  balcony  in  the  middle  of  the  front  it 
has  been  the  custom  of  the  popes  to  bless 
the  people  of  Rome  on  the  festival  of  the 
Assumption.  A  many-storied  mediffival 
bell-tower,  presumably  of  the  vii  cent.. 
with  modern  roof,  stands  over  the  end  of 
the  right  aisle,  and,  from  a  sutiicient  dis- 
tance, groups  effectively  with  the  cujtolas 


an  imposing  though  divided  composition. 
The  interior  shows  the  plan  of  the  orig- 
inal church,  comparatively  unaltered — a 
spacious  three-aisled  basilica,  now  without 
transept,  and  with  a  deep  apsidal  tribune. 
Tlie  nave,  next  in  size  to  St.  Peter's  and 
St.  Paul's,  being  some  2.30  ft.  long  by  56  ft. 
wide,  and  distinguished  for  the  long  lines 
of  its  horizontal  entablature  borne  by 
twenty-one  columns  on  each  side,  is  the 
most  impressive  of  its  kind.  Its  comj'ar- 
atively  small  height,  only  about  60  ft., 
the  close  spacing  of  its  columns,  and  the 
multiplied  coffering  of  its  flat  ceiling,  give 


SW! 


EOME 


it  scale,  and  are  seconded  by  a  modern 
upper  order  of  Corinthian  pilasters  be- 
tween the  alternate  windows  and  panels  of 
the  clerestory.  The  continuity  is  only 
once  broken,  in  the  fourth  bay  from  the 
tribune,  where,  as  appears  from  the  spac- 
ing, two  of  the  original  columns  on  each 
side  have  been  spread  apart  to  make  room 
for  arched  passages  across  the  aisles  to  the 
two  great  lateral  chapels  Just  mentioned, 
which  take  the  place  of  a  transept.  The 
aisles,  of  less  tlian  half  tlie  width  of  the 
nave,  liave  modern  tunnel-vaults  broken 
by  lunettes.  The  tribune  is  extended 
toward  the  nave  by  straight  walls  tangeiit 
to  the  curve  of  the  apse.  Its  semi-dome 
is  covered  with  splendid  mosaics  of  the 
end  of  the  xiii  cent.,  by  Torriti,  who  also 
executed  those  in  the  apse  of  St.  John 
Lateran.  They  represent  the  coronation 
of  tlie  Virgin  between  groups  of  adoring 
angels,  with  ajiostles  and  saints.  These 
are  surrounded  l)y  arabesque  scrolls  so 
purely   classical    in    character   as   to  give 


Fig.  191.— Rome    '     ■.'    '. 

color  til  the  thought  that  the  old  mosaic 
background  of  perliaps  the  v  cent,  was 
left  undisturbed.  Below  are  seen,  on  the 
inside  only,  the  pointed  windows  cut  in 
the  apse  in  the  xui  century.  On  the  face 
of  the  triumphal  arch  and  the  walls  of  the 


nave  are  older  mosaics,  rei^resenting  scenes 
from  Old  Testament  history,  while  those 
about  the  arch  depict  the  early  life  of 
Christ.  These  are  among  the  oldest  Chris- 
tian mosaics  in  Rome,  and  are  supposed 
to  date  from  the  time  of  Sixtus  III.,  whose 
name  is  inscribed  over  the  arch.  Benedict 
XIV.  replaced  the  old  ciborium  by  a  rich 
modern  baldacchino,  and  the  confessio  and 
subterranean  chapel  of  St.  Matthew  be- 
neath it  were  handsomely  rebuilt  by  Pius 
IX.  The  two  great  chapels  which  flank 
the  choir,  those  of  Sixtus  V.  and  Paul  V., 
are  substantially  alike  in  design,  being 
Creek  crosses  with  arms  of  small  jirojec- 
tion,  about  TO  ft.  across  within,  the  cen- 
tral sjjaces  covered  by  domes  resting  on 
octagonal  drums  and  crowned  by  cupd- 
las.  with  an  interior  height  of  1.50  ft.  A 
single  order  of  Corinthian  pilasters  sup- 
l^ortstlie  pcndentivesand  the  vaults  of  tlu' 
arms  ;  the  drums  have  an  order  of  grouped 
pilasters  with  windows  between.  The  in- 
teriors are  sumptuous  with  colored  mar- 
bles, sculpture,  and  painting. 
In  the  middle  of  the  Sixtiue 
chapel  is  an  altar  with  a  taber- 
nacle supported  by  bronze  an- 
gels, and  beneath  it  a  confessio 
enclosing  five  boards  from  the 
manger  of  Christ,  brought  from 
Bethlehem  in  the  vii  cent.,  by 
Theodore  I.  From  them  the 
chapel  is  called  the  Capella  del 
Presepe  (Chapel  of  the  Manger). 
Various  other  chapels  line  the 
aisles,  among  them  the  curious- 
ly planned  chapel  of  the  Sforzas, 
which  ordinarily  serves  as  choir. 
The  church  was  built  by  Pope 
Liberius  (352-30(5)  on  the  site  of 
the  private  basilica  of  oneSicini- 
nus,  and  was  still  known  as  the  Basilica  of 
Sicininus  when,  after  the  death  of  Libe- 
rius, a  bloody  fray  in  the  church  itself  be- 
tween the  adherents  of  two  rival  candi- 
dates, Danuisus  and  Ursinns,  gave  the 
])apal  chair  to  Damasus.     We  are  told  that 


liOME 


Liberius  was  warned  in  a  dream  to  huild  a 
cliureh  to  the  Mrgiu  on  the  spot  where 
snow  fell  on  an  August  night,  whence  it  has 
been  also  called  Sta.  Maria  ad  Nives.  This 
miracle  is  represented  in  the  old  mosaic 
framed  in  the  front.  Sixtus  111.  (4:5-^-lU) 
rebuilt  it  with  great  splendor  directly  after 
the  Council  of  Ephesus  had  declared  the 
Virgin  to  be  the  real  mother  of  God  (Dei 
Genetrix),  and  dedicated  it  to  lier  as  Dei 
Mater.  The  apse,  perhaps  the  front  also. 
was  remodelled  in  the  xii  and  xiii  cent- 
uries. Xear  1500  Giuliano  Sangallo  added 
the  coffered  ceiling  to  the  nave,  gilded,  it 
is  said,  with  the  first  gold  that  was  brought 
from  South  America.  The  rear  facade 
was  added  under  Clement  X.,  in  1670-76, 
by  Carlo  Rainaldi,  and  the  front,  in  1741, 
for  Benedict  XIV.,  by  Ferdinando  Fuga. 
Domeuico  Fontana  was  the  architect  of 
the  chapel  of  Sixtus  V.,  about  1583,  and 
Flaminio  Ponzio  of  that  of  Paul  V.,  called 
also  the  Borghese  chapel,  and  of  the  bajD- 
tistery,  near  1608.  The  chapel  of  the 
Sforzas  was  designed  by  Michael  Angelo, 
but  finished  by  Giacomo  della  Porta,  and 
considerably  altered  by  Fuga  when  he  re- 
built the  front.     {See' Figs.  190,  I'Jl.) 

Sta.  Maria  sopra  Minerva,  an  an- 
cient church  standing  on  the  .site  of  a 
IJoman  temple  of  Minerva,  and  lielonging 
to  nuns  of  the  order  of  St.  Basil,  was  ceded 
in  1374  to  Dominican  monks,  and  imme- 
diately replaced  by  the  present  church, 
whicli  is  presumed  to  be  from  the  designs 
of  Fra  Sisto,  of  Florence,  a  Dominican, 
who  with  his  associate  Fra  Ristoro  built 
the  church  of  Sta.  JIaria  Novella  in  that 
city.  It  is  a  cruciform  church  measuring 
about  130  ft.  wide  and  300  ft.  long,  and  is 
remarkable  among  the  churches  of  Rome 
for  being  the  only  one  in  the  Gothic 
style.  The  nave,  about  40  ft.  wide,  is  in 
six  square  bays,  and  is  sejiarated  from  the 
aisles  by  square  piers,  with  half  columns 
whicli  carry  the  pendentives  of  the  high 
groined  vaulting,  and  two  others  support- 
ing the  pointed  nave  arches.     The  aisles 


are  divided  into  oblong  bays,  from  each  of 
which  opens  a  rectangular  chapel.  They 
arc  lofty,  and  the  arcades  reach  to  the 
springing  of  the  vaults,  with  only  lunettes 
above  them,  which  arc  pierced  with  many- 
foiled  round  windows.  The  original  ar- 
chitecture is  very  simjDle,  the  vaulting 
low,  the  cajiitals  plain,  and  the  archivolts 
without  mouldings.  The  transept,  which 
has  no  ijrojection  beyond  the  walls  of  the 
chapels,  has  a  square  bay  at  the  cross- 
ing and  one  square  bay  on  each  side  like 
those  of  the  aisles.  The  choir  has  a  sim- 
ple square  bay,  flanked  on  each  side  by 
two  narrow  chapels  opening  from  the 
transept,  and  terminates  in  a  polygonal 
apse,  while  a  modern  chapel  oj)ens  un- 
der a  round  arch  from  each  end  of  the 
transept,  whose  floor  is  raised  above  the 
nave.  The  church  was  restored  in  the 
XVII  cent.,  under  Carlo  Maderno,  when 
the  fa9ade  was  partially  rebuilt  in  the 
Renaissance  style  ;  and  in  1848-55,  a  very 
thorough  restoration  was  carried  out,  and 
the  interior  given  an  aspect  of  great  rich- 
ness, the  piers  and  walls  being  coated  with 
fine  marbles,  the  vaults  covered  with  fres- 
coes ill  the  style  of  the  xiii  cent.,  and  the 
clerestory  painted  in  garish  fashion. 

Sta.  Maria  dei  Mikacoli  and  Sta. 
JIakia  di  Monte  Santo.  These  two 
small  churches,  alike  in  their  fa9ades  and 
similar,  though  not  identical,  in  plan  and 
disposition,  stand  on  the  Piazza  del  Popolo 
at  the  two  corners  of  the  Corso.  They 
were  begun  about  1662,  under  Alexander 
VII.,  from  the  designs  of  Rainaldi,  but 
the  fagades  ^yere  added  by  Carlo  Fontana. 
In  jilan  the  one  church  is  a  circle,  the 
other  an  ellipse,  surrounded  by  chapels 
and  covered  by  a  polygonal  dome  on  a 
high  tambour,  crowned  with  a  lantern. 
Each  fa9ade  has  a  projecting  portico  of 
four  Corinthian  columns,  with  jiediment, 
and  each  church  has,  on  the  side  next  the 
Corso,  a  square  belfry  above  the  roof,  with 
a  somewhat  fantastic  si)ire. 

Sta.  Maria   dei  Monti,  a  small   Re- 


ROME 


naissauce  conventual  clmroli.  built  in  the 
latter  half  of  the  xvi  cent..  Iroin  the  de- 
signs of  (liacomo  della  Porta.  Its  plan 
consists  of  a  nave  about  ',Vi  ft.  wide  and 
50  ft.  long,  flanked  ou  each  side  by  three 
rectangular  recesses,  of  which  two  are 
chapels  and  the  third  an  entrance  vesti- 
bule, and  ojiening  by  a  great  round  arch 
into  a  square  central  space  covered  by  a 


Fig.  192.— Rome,  Sta.  Maria  della  Pace,  Cloister. 

hemispherical  dome  raised  on  a  high  tam- 
bour. This  is  borne  on  pendentives  by 
four  great  arches,  which  open  into  the 
nave,  the  shallow  transept,  and  the  semi- 
circular tribune  ;  the  whole  carried  on  an 
order  of  Corinthian  pilasters  which  sur- 
rounds the  interior.  In  the  nave  the  in- 
tervals of  this  order  enclose  round  arches 
opening  into  the  chapels  and  vestibules, 
and  from  its  entablature  springs  the  en- 
riched vault  of  the  ceiling,  pierced  with 
lunettes.  The  fayade  is  in  two  stages, 
each  carrying  an  order  of  Corinthian  pi- 
lasters, the  central  interval  occupied  in  the 
lower  story  by  a  doorway  with  architrave 
and  pediment,  in  the  upper  bj-  a  window 
with  balustrade,  enclosed  between  Corin- 
thian columns  with  entablature  and  pedi- 
ment. The  side  intervals  have  niches  and 
panels,  and  above  them  scroll-l)uttresses 
flank  the  narrower  upper  story.     The  ad- 


joining College  of  the  Xeophytes  was 
added  by  S.  Onofrio  under  Urlian  \'lll. 
(1(5:23-44). 

Sta.   Maim  a    della  Navicella.     See 
(S'.  M.  in  Dumuica. 

Sta.  Maria  della  Pace,  a  small  Ke- 
naissance  church  built  by  Sixtus  IV.  in 
1487,  from  the  designs  of  Baccio  Pintelli, 
and  restored  with  important  alterations, 
about  1660,  by  Alexander  VII. 
Its  plan  is  peculiar,  consisting 
of  a  nave  about  25  ft.  wide  and 
45  ft.  long,  divided  into  two 
square  vaulted  bays  by  wide- 
spaced  Doric  pilasters,  between 
which  open  small  chajiels  in  the 
thickness  of  the  wall,  two  square 
and  two  semicircular,  w  bile 
above  is  a  clerestory  with  a 
simple  round-arched  window  in 
each  bay.  The  nave  opens  in- 
to an  octagon  45  ft.  in  diam- 
eter, beyond  which  is  a  square 
choir.  The  octagon  has  an  or- 
der of  high,  thin  (ximposite 
]iilasters.  in  the  intervals  of 
which  on  four  sides  are  the 
arched  openings  of  square  chapels  in  the 
thickness  of  the  wall.  Above  the  en- 
tablature is  a  low  .segmental  dome  with 
panelled  soffit,  raised  on  a  high  tambour 
with  Corinthian  pilasters  and  windows 
between,  and  carrying  a  lantern.  The 
baroco  fa(;ade  in  two  stages,  with  orders 
of  pilasters  and  a  low  pediment,  was 
added  under  Alexander  VII.  (1655-67) 
by  Pietro  da  Cortona.  The  first  story 
has  a  projecting  semicircular  portico  of 
coupled  Corinthian  columns.  Attached 
to  the  church  ou  the  north  is  a  convent 
with  a  fine  cloister,  an  admired  work  of 
Bramante.  45  ft.  square,  surrounded  by 
vaulted  arcades  on  the  first  story,  and  on 
the  second  by  an  open  corridor  with 
grouped  com])osite  pilasters,  the  intervals 
divided  liv  single  columns.  [See  Fig. 
192.) 
Sta.    Makia    D^h    I'ui'olo,    a    Gothic 


400 


ROME 


cruciforin  churcli  of  the  early  xiil   cent., 
but  rebuilt  in  14T1  under  Sixtus  IV.,  from 
the  designs  of  Baccio  Pintelli.     Its  nave 
and  aisles  are  in  four  bays,  square  in  the 
nave   and   oblong   in   the  aisles,   covered 
with  four-i^art  vaulting,  and  are  separated 
by  clustered  piers  carrying  round  arches. 
The  transept,  in  three  square  bays,  has  a 
semicircular  apse  or  tribune  at  each  end. 
The  crossing  is  covered  by  an  octagonal 
dome.     The  choir  is  very  long,  and  has 
three  square  bays  and  a  semicircular  trib- 
une of  the  full  width  of   the  nave.     Its 
ceiling  is  painted  with  frescoes  by  Pintu- 
ricchio,  and  on  its  walls  are  two  tombs  of 
similar  design,  of  extreme  richness  and  ele- 
gance, by  Andrea  Sansovino,  the  tombs 
of  Ascanio  Sforza  and  Hieronimo  Basso. 
The  choir  is  flanked  on  each  side  by 
two  long  chapels  opening  from  the  tran- 
sept.   The  church  is  remark;djle  for  the 
richness  of  its  chapels,  of  which  four 
open  from  each  aisle.     These  are  all 
characterized  by  great  elaborateness  of 
design  and  decoration,  but  two  of  them, 
the  Chigi  chapel  on  the  left,  and  the 
Cibo  chapel  on  the  right,  surpass  the 
rest  in  sumptuousness  of  material  and 
profusion  of  ornament.     The  latter,  in 
the  form  of  a  Greek  cross,  is  from  the 
designs  of  Carlo  Fontana  ;  the  former, 
an  octagon  covered  by  a  dome,  is  at- 
tributed to  Kaphael,  and  the  mosaics 
of  the  dome  are  believed  to  be  from  his 
designs.     The  facade  of  the  church  is 
of  simple  design,  in  three  vertical  di- 
visions marked  by  flat  Corinthian  pilas- 
ters  on   a  pedestal-course,   with  three 
square  doors  in  the  intervals.   The  cen- 
tre is  carried  up  with  two  angle  pilas- 
ters   and    a    round    window,    finislied 
with  a  low  pediment,  and  flanked  by 
broken  curved  half  pediments  of  corrujit 
design.     {See  Fig.  193.) 

Sta.    Maria    della    Rotonda.     See 
Panlheon. 

Sta.  Maria  Scala  Cell  one  of  the 
three  churches  at  the  Tre  Fontane,  is  a 


small  octagonal  church  designed  by  \'ig- 
nola  for  Cardinal  Alessandro  Faruese  on 
the  site  of  an  older  one,  and  has  the  charm 
of  prop(n'tion  that  lielongs  to  all  of  Vignola's 
work.  It  is  an  octagon  with  its  cardinal 
faces  brought  forward  in  reveals,  against 
three  of  which  apses  are  built,  and  against 
tlie  fourth  an  entrance  iiorch,  the  whole 
crowned  with  a  low  octagonal  dome  and 
cupola.  The  porch  has  an  order  of 
Tuscan  pilasters  whose  cornice  is  carried 
round  the  church,  and  a])ove  this  is  an 
attic  with  a  jjlain  modillioned  cornice,  and 
pinnacles  at  the  angles.  Within,  the 
dome  is  semicircular  in  section,  and  car- 
ried on  an  order  of  Corinthian  ])ilasters. 


Fig.   193— Rome    S.  M    del    Popolo    Sforja   Monument. 

In  the  three  apses  are  altars,  and  in  the 
intermediate  sides  are  niches  with  windows 
above  them.  One  ajjse  is  decorated  with 
mosaics  by  Zuccheri.  The  original  church 
was  built  over  the  cemetery  of  St.  Zeno,  to 
commemorate  a  vision  of  St.   Bernard   in 


401 


TiOME 


which  he  saw  angels  leading  up  a  ladder 
the  souls  which  his  prayers  had  released 
from  purgatory.  The  altar  at  which  the 
vision  occurred  is  preserved  in  a  subter- 
ranean chapel  under  the  church.  (See 
also  <S^.  Paolo  aUe  Tre  Foidane.) 

Sta.  Maiu.v  del  Sole.  See  Temple  of 
Hercnlet:. 

Sta.  Makia  ix  Tkastevere  is  histori- 
cally one  of  the  oldest  churches  in  Rome, 
and  one  in  which  very  complex  changes 
have  taken  place.  It  is  a  three-aisled 
basilica  of  moderate  size  and  plain  exte- 
rior, with  a  transept  as  wide  as  the  aisles. 
It  has  a  modern  portico  of  Ionic  arcades 


■astevere,  Choir. 


covering  doors  framed  in  fragments  of  an- 
cient arabesques,  above  which  rises  the 
old  front  of  the  nave  adorned  with  mosaics 
of  the  XII  cent.,  representing   the  Virgin 


and  infant  Saviour  between  the  wise  and 
foolish  virgins   of   the  parable.     The  in- 
terior is  a  singular  patchwork.     The  nave 
is  about  125  ft.  long  by  -iO  ft.  wide,  with 
aisles  of  half  its   width.     It  is   bordered 
by  twenty-two  very  irreguhir  ancient  col- 
umns,   with   bases   and  capitals  of   great 
variety,  Ionic,  Corinthian,  and  Composite. 
The  columns   carry  straight  architraves ; 
the  frieze  is  occupied  by  concealed  brick 
relieving  arches,  and  above  it  is  a  heavy 
cornice  supported  by  innumerable  vertical 
slices  of  old  entablatures,  entirely  discor- 
dant among  themselves,  used  as  brackets. 
Half  tlie  original  clerestory  windows  are 
stopped,  apparently,  and  the  rest 
altered  into   arcli-headed  open- 
ings, framed  in  modern  mould- 
ings ;  the  pavement  has  recently 
been  raised  somewhat   and   the 
columns    shortened,    by   a  new 
pavement.     A  gorgeous  modern 
ceiling  by  Domenichiuo,  carved, 
gilded,  and  painted,  replaces  the 
old  open  roofs.     The  transept, 
flush  with  the  aisles,  has  in  the 
middle    a    modern   baldacchino 
(iver    the    higli    altar,    beneath 
which  is  a  confessio,  or  rather 
rrypt,  containing  the  remains  of 
Calixtus,   the    founder    of    the 
church,  and  four  others  of  the 
jiopes.     The   great  apse  is  cov- 
ered  with   mosaics   of    the   xii 
cent.  —  Christ  and   the  Virgin 
enthroned  between  several  saints, 
iielow  is  a  series  of  scenes  from 
the  life  of  the  Virgin  in  panels, 
ascribed  by  Vasari  to  Pietro  Cav- 
allini  (about  1340).  a  ])upil  of 
(iiotto.     The  triumphal  arch  is 
bare   of   decoration  ;   above  the 
arch  of  the  apse  are  mosaics  of 
the  symbols  of  the   four  evan- 
gelists, and  beside  it  the  prophets  Isaiah 
and  Jeremiah.     The  aisles  and   transept 
are  overgrown    with   a   great  number   of 
modern  chapels.     A  cliurch  was  founded 


4U2 


ROME 


here,  it  is  said,  by  Calixtus  I.,  in  222, 
and  rebuilt  by  Julius  II.  (337-52),  re- 
stored in  8-1:0  by  Leo  IV.,  and  again  by 
Innocent  II.  in  1139.  Domenieliino's 
ceiling  was  added  about  1G30.  There 
has  been  much  coutroversy  over  the 
age  of  the  church  as  we  now  see  it. 
Hiibsch,  Bunsen,  and  other  older  authori- 
ties believe  that  it  dates  only  from  the 
restoration  of  Innocent  II.;  others,  in- 
cluding Mothes,  that  the  main  parts  are 
the  work  of  Julius  I.     {See  Fig.  HH.) 

Sta.  Maria  ix  Vallicella.  This 
church,  more  generally  known  as  La 
Chiesa  Xuova — the  new  church — was  built 
originally  by  St.  Gregory,  but  having  in 
the  XVI  cent,  fallen  into  a  ruinous  con- 
dition, was  rebuilt  by  S.  Filippo  Xeri, 
autliorized  by  Gregory  XIII.  The  work 
was  begun  in  1575,  and  was  carried  on 
under  various  architects,  among  whom 
was  Martino  Lunghi,  till  the  consecration 
in  1599.  The  square  fayade,  masking  the 
nave  and  aisles,  is  in  two  orders  of  grouped 
Corinthian  pilasters,  with  three  doors  be- 
low and  a  window  and  two  niches  above, 
all  under  jiedimeuts.  A  broad  low  jiedi- 
ment  crowns  the  whole.  Its  peculiar 
plan  covers  an  area  about  110  ft.  by  215  ft. 
The  barrel-vaulted  nave  is  about  44  ft. 
wide,  separated  from  the  aisles  by  arcades 
of  five  round  arches  on  each  side  with 
Corinthian  pilasters  between.  The  aisles 
are  narrow,  in  rectangular  bays  con- 
nected by  arches,  and  bordered  b}'  semi- 
circular chapels.  The  tran.sept  arms  are 
as  wide  as  the  nave,  the  crossing  is  cov- 
ered by  a  hemispherical  dome  ;  the  choir 
has  a  single  rectangular  bay  with  a  round 
apse  or  tribune  beneath  which  is  the  rich 
chapel  of  S.  Filippo  Xeri.  The  materials 
and  decoration  of  the  interior  are  sump- 
tuous, the  walls  being  covered  with  rich 
gilding  and  the  vaults  and  arches  with 
stucco  reliefs.  The  vaults  are  lavishly 
decorated  by  Pietro  da  Cortona.  The 
adjacent  convent,  built  for  the  most  part 
from  the  designs  of  Borromini,  has  two 


great  courts,  and  some  line  apartments, 
notably  the  sacristy,  the  oratory,  and  an 
oval  refectory. 

Sta.  Maria  in  Via  Lata,  a  small  basil- 
ica, with  nave  21  ft.  wide  and  groined 
aisles,  built  at  the  end  of  the  vii  cent,  by 
Sergius  I.,  much  altered  in  1491,  and 
again  in  the  xvii  cent.,  and  highly  dec- 
orated. The  twelve  antique  Ionic  col- 
umns which  support  the  arcades  of  the 
nave  have  been  recased  and  their  capitals 
gilded ;  the  old  tribune  remains.  The 
front,  an  admired  work  of  Pietro  da  Cor- 
tona, is  a  two-story  columnar  loggia,  of 
a  Composite  order  above  a  Corinthian, 
crowned  by  a  pediment,  the  large  central 
arch  breaking  the  entablature  of  the  pedi- 
ment, which  is  carried  round  it.  The 
crypt,  which  is  part  of  the  ancient  Sejita 
Julia,  is  under  the  front  joart  of  the  nave, 
and  reached  from  the  loggia.  Legend  as- 
sociates it  and  the  sining  which  is  found  in 
it  with  the  centurion  with  whom  St.  Paul 
lodged.  The  church  contains  the  tombs 
of  two  of  the  Bouapartes  and  of  other 
notables.  Its  name  is  derived  from  the 
original  Roman  street,  which  nearly  coin- 
cided with  the  Corso. 

Sta.  Maria  della  Vittoria,  a  cruci- 
foi'm  church  with  an  octagonal  dome, 
built  at  the  beginning  of  the  xvii  cent, 
by  Paul  v.,  chiefly  from  the  designs  of 
Carlo  Maderno,  with  a  fa9ade  by  Giovanni 
Battista  Soria.  The  facade,  rising  from  a 
high  flight  of  steps,  has  two  stages  each 
with  an  order  of  Corinthian  pilasters, 
coupled  in  the  central  division  and  en- 
closing an  enriched  doorway  with  a  sort 
of  porch  surmounted  by  a  broken  pedi- 
ment ;  the  side  intervals  are  decorated 
niches.  The  upper  stage  has  only  the 
breadth  of  the  nave,  with  a  central  arched 
window  enclosed  in  pilasters  and  pedi- 
ment. A  low  pediment  with  a  balustrade 
following  its  rake,  covers  the  whole  of  the 
upper  stage,  which  is  flanked  by  large 
consoles. 

S.  Martixo  ai    Moxti,  an   old   basil- 


403 


HOME 


ica,  built  by  Syinniachus  in  500,  altered 
in  the  middle  of  the  ix  cent,  by  Popes 
Sevgiiis  IT.  iiiul  Leo  IV.,  restored  at  the 
end  of  XIII.  and  much  modernized  in 
lfi.50-T(i.  Of  the  original  church  we  may 
still  see  the  open  atrium  and  the  twenty- 
four  ancient  Corinthian  columns  that  line 
the  bi-oad  nave.  These  stand  on  pedestals 
and  carry  a  horizontal  entablature.  The 
flat  ceiling  above  is  due  to  S.  Carlo  Bor- 
romeo.  The  aisles  have  in  like  manner 
horizontal  ceilings,  and  there  is  no  tran- 
sept. The  apse  may  be  part  of  the 
church  of  Syinmachus,  or  even  of  an  ear- 
lier church  which  is  said  to  have  been 
built  here  by  Pope  Sylvester  in  the  time 
of  Constantine.  The  choir,  which  ex- 
tends into  the  nave,  is  considerably  raised, 
and  in  front  of  it  an  open  well  and  stair- 
way lead  to  the  crypt,  elaborately  restored 
in  1050  by  Pietio  da  Cortona.  From  this 
again  a  jiassage  leads  to  a  subterranean 
groined  room  on  the  north,  which  is  be- 
lieved to  have  been  part  of  the  baths  of 
Trajan,  used  as  a  very  early  church,  over 
which  is  the  handsome  vaulted  sacristy. 
The  church  is  richly  decorated,  and  on 
the  walls  of  the  aisles  are  landscapes  and 
figures  by  the  two  Ponssins,  also  interest- 
ing paintings  of  the  interiors  of  the  old 
basilica  of  St.  Peter,  and  of  St.  John 
Lateran  in  its  early  condition. 

SS.  Nereo  ED  AcHiLLEO,  One  of  the 
lesser  basilicas,  built  near  800  by  Leo  III., 
and  restored  from  a  state  of  great  dilapi- 
dation in  1597  by  Cardinal  Baronius,  with 
an  effort  to  preserve  its  ancient  character 
according  to  the  light  of  his  day,  but 
pretty  thoroughly  modernized  in  its  pres- 
ent condition.  It  has  the  simplest  pos- 
sible fa9ade,  following  the  outline  of  the 
nave  and  aisles,  stuccoed  and  once  painted, 
with  a  pedimented  porch  on  two  Tuscan 
columns  against  the  nave  and  a  ])edi- 
mented  window  over  it.  There  is  no 
transept ;  the  nave,  'i7  I't.  wide,  is  sepa- 
rated from  tlic  aisles  by  six  broad  low 
arches,    on    octagonal   piers   with   stucco 


cajjitals  and  supporting  high  walls.  The 
low  roof  is  open-timbered.  The  choir-apse 
is  ancient,  and  about  it  remain  some  early 
mosaics  representing  the  Transfiguration 
aiul  the  Annunciation.  The  ancient  ar- 
rangement is  seen  in  the  raised  choir, 
inclosed  in  a  screen,  under  which  is 
the  confessio  containing  relics  of  saints, 
among  them  those  of  Sta.  Domitilla,  to 
whose  attendants,  Nereus  and  Achilles, 
the  church  is  dedicated.  The  mediaval 
ambones  remain,  and  the  altar  and  taber- 
nacle, which  stand  under  a  modern  bal- 
dacchino. 

S.  NiccoLO  IX  Carcere  is  a  small  ba- 
silican  church  of  the  ix  cent.,  w-ith  tran- 
sept and  apse,  much  modernized,  and  so 
called  from  its  position  near,  or  as  has 
been  thought  upon,  the  site  of  the  prison 
of  Appius  Claudius.  It  is  built  on  the 
foundation  of  a  group  of  ancient  temples, 
its  arcades,  according  to  Mothes's  exam- 
ination, following  the  lines  of  one  cella 
wall,  and  some  of  the  original  columns 
remaining  in  situ  on  the  front.  This 
may  account  for  the  narrowness  of  the 
nave,  which  is  only  22  ft.  by  90  ft.,  and 
has  its  arcades  carried  on  irregular  col- 
umns from  various  buildings.  The  whole 
interior  width  is  GO  ft.  The  irregular 
aisles,  nearly  as  broad  as  the  nave,  and 
covered  with  barrel-vaults,  imbed  in  their 
walls  the  lateral  columns  of  the  adjoin- 
ing tem2)les  of  Sjjcs  and  Juno  Sosi)ita. 
The  modern  campanile  stands  over  the 
end  of  the  right  aisle,  beside  the  front, 
which  dates  from  1599.  The  church  has 
lately  been  restored ;  its  nave-walls  are 
covered  by  paintings  of  scenes  from  the 
life  of  St.  Xicholas,  and  the  choir  with 
pictures  of  the  Council  of  Nice.  In  the 
crypt  appear  the  substructions  of  the  an- 
cient temple.  (See  Tciiiph's  nf  S/w.y  and 
■III no  Sospifa.) 

S.  Onofkio,  a  small  church  on  the 
Janiculan  hill,  belonging  to  the  adjoining 
convent  of  the  Girolomini.  or  monks  of 
St.  Jerome.     It  was  a  late  Gothic  church. 


104 


EOME 


built  in  l-l'iO  ;  its  original  style  has  dis- 
:il)peareil  under  many  alterations.  It  con- 
sists of  a  nave  of  tliree  nearly  square  bays, 
groin-vaulted,  with  aisles  which  have  been 
divided  into  chapels,  and  a  Kenaissance 
tribune.  A  square  campanile  is  set  into 
the  N.  E.  angle  of  the  front,  which  faces 
north,  and  an  open  vaulted  porch  con- 
nects with  an  arcade  iu  the  front  of  the 
convent.  The  church  is  noted  as  the 
burial-jilace  of  Tasso,  who  died  in  the  con- 
vent. Ilis  body  lies  under  an  elaborate 
tomb  lately  built  in  the  chajjel  of  St. 
Jerome.  The  tribune  is  painted  in  three 
tiers  of  jjictures,  the  lower  by  Peruzzi, 
the  upper  probably  his  also,  though  they 
have  been  attributed  to  Pinturicchio. 

S.  Pancrazio  was  built  at  the  begin- 
ning of  the  VI  cent,  by  Pope  Symmachus, 
but  has  been  since  many  times  rebuilt, 
last  after  the  siege  of  Rome  in  18-49,  when 
it  was  jDarticularly  exposed  by  its  position 
outside  the  Porta  Aurelia.  It  retains  its 
old  apse  and  the  confessio  beneath  the 
choir,  reached  by  a  double  staircase. 
Some  of  the  original  arcading  of  the  nave 
also  remains,  and  shows  the  arrangement, 
unusual  in  Rome,  of  jners  alternating 
with  pairs  of  columns.  Some  fragments 
of  the  early  ambones  are  incorjiorated  in 
the  modern  pulpits. 

S.  Paolo  fuoki  le  Mura  (St.  Paul 
outside  the  walls).  This  great  basilica,  a 
mile  or  more  outside  the  Porta  S.  Paolo, 
was  recently  built  to  replace  the  famous 
one  of  the  age  of  Constantine,  which  was 
burned  in  1823.  It  follows  the  lines  and 
dimensions  and  structure  of  the  old  one, 
varying  somewhat  from  it  in  details.  It  is 
a  great  five-aisled  basilica  with  transept 
and  a  large  tribune.  The  whole  length, 
without  the  tribune,  is  about  400  ft.,  the 
breadth  across  transept  2.50  ft.,  across 
the  nave  and  aisles  220  ft.  The  exterior 
is  plain,  except  the  front,  toward  the  Ti- 
ber, where  the  end  of  the  nave  retains  in 
some  degree  its  old  mosaics,  carefully  re- 
stored  since   the   fire,    and    representing 


Christ  with  St.  Peter  and  St.  Paul,  and  the 
four  great  prophets  below.  The  atrium 
in  front,  still  unliiiished,  is  to  be  sur- 
rounded by  open  arcades  on  granite  col- 
umns. A  portico  of  eight  Corinthian 
columns  against  the  north  transe]it  marks 
the  entrance  toward  Rome.  Within,  the 
nave  and  aisles  are  separated  by  four  rows 
of  great  granite  Corinthian  columns, 
twenty  in  each,  carrying  arcades.  The 
enormous  nave,  80  ft.  wide  and  about 
100  ft.  high,  is  nearly  300  ft.  long.  The 
cornice  above  its  arcades  is  continued  in 
an  entablature  round  the  impost  of  the 
triumphal  arch,  which  remains  from  the 
old  church  and  is  supported  by  two  Ionic 
columns  larger  than  the  rest.  The  mo- 
saic over  the  arch,  representing  Christ 
and  the  twenty-four  elders,  is  rejiroduced 
from  the  previous  one,  damaged  in  the 
fire,  which  was  put  up,  it  is  believed,  by 
Galla  Placidia,  sister  of  Ilonorius,  in  440. 
Above  the  main  arcades  is  a  series  of  me- 
dallions extending  into  the  transeiit,  and 
containing  2)ortraits  in  mosaic  of  the  popes. 
Between  the  pilasters  which  decorate  the 
clerestory  walls,  and  alternating  with  the 
round-arched  windows,  are  pictures  from 
the  life  of  St.  Paul  by  modern  Italian 
painters.  The  coffered  horizontal  ceiling 
above  is  richly  carved  and  gilded.  The 
great  nave,  almost  unequalled  in  width, 
but  somewhat  low  in  jiroportion,  the  doub- 
le aisles  and  countless  columns,  produce 
an  effect  of  extreme  spaciousness  and  in- 
tricate perspective,  and  the  sumptuousness 
of  the  walls  and  clerestory  contrasts  sin- 
gularly with  the  rather  cold  grandeur  of 
the  lower  architecture.  In  the  transept, 
behind  the  triumplud  arch,  is  the  fine  old 
Gothic  ciboriuni  over  the  high  altar,  cov- 
ered by  a  recent  baldacchino  rich  with  ori- 
ental marbles  and  malachite.  Inscriptions 
on  the  ciborium  declare  it  to  have  been 
built  by  order  of  Abbot  Bartolomew,  in 
1285,  and  tiiat  it  was  the  work  of  Arnolfo 
and  his  fellow  Pietro.  This  is  believed  to 
mean  Arnolfo  di  Cambio.  architect  of  the 


ROME 

catl)edral  at  Florence.  lender  the  altar  is  sition  and  proportions  very  uuclassic  :  tlie 
the  small  co?if('ssio  or  niche  (Mjntaining  the  entablature  is  very  heavy,  the  columns, 
hones  of  Ht.  I'aul,  excejjt  the  head,  whirh     c'oupled   in  the   thickness  of  the  wall,  are 


-Rome,  S.  Paolo  fuoit   le   Mura. 


is  preserved  in  the  Lateran.  The  apse  be- 
hind the  altar  retains  its  mosaics  of  the 
XIII  cent.,  representing  Christ  surround- 
ed by  Peter  and  Andrew,  Paul  and  Luke, 
with  Ilonorius  III.  at  his  feet.  Over  the 
triumphal  arch,  on  the  side  next  the  tran- 
sejit,  are  the  original  mosaics,  only  in  part 
restorations,  showing  Ohi'ist  between  Peter 
and  Paul.  The  rest  of  the  transept  is 
decorated  with  modern  paintings. 

Tile  Convent  adjoining  the  church  be- 
longs to  the  Henedictines.  It  has  one  of 
the  finest  and  best  preserved  of  early  clois- 
ters, much  like  that  of  St.  John  Lateran, 
in  the  manner  of  the  Cosmuti.  Tliis  en- 
closes a  rectangle  of  about  70  ft.  by  80  ft., 
with  an  arcade  supported  on  delicate  coup- 
led columns.  The  arches,  standing  above 
a  continuous  stylobate,  are  grouped  in 
fours  between  heavy  pilasters,  aiul  carry 
a  complete  entablature.  The  forms  and 
details  are  mostly  classic,  but  the  comjio- 


slight,  with  thick  abaci  of  mediiBval  pro- 
portion, the  shafts  now  plain,  now  twist- 
ed, now  inlaid  witli  mosaic.  The  high 
frieze  is  richly  inlaid  throughout  with 
elaborate  mosaic  in  interlacing  bands. 
The  architrave  bears  a  continuous  inscrip- 
tion in  rhymed  hexameters,  telling  that 
the  cloister  was  begun  by  Peter  of  Capua, 
afterward  cardinal,  and  finished  by  John 
of  Ardea.  Peter  of  Cai)ua  and  John  of 
Ardca  were  abbots  of  the  monastery  from 
11U3  to  1241,  which  fixes  an  appropriate 
date  for  this  work.  The  original  chnrcli 
of  St.  Paul  is  said  to  have  been  founded 
here  in  324.  A  rebuilding  was  begun  un- 
der Valentiniaii,  in  38G,  and  completed  in 
397  under  Ilonorius.  Galla  Placidia, 
Ilonorius's  sister,  adorned  it  with  mosaics, 
and,  it  has  been  said,  reversed  the  orienta- 
tion, which  now  turns  the  front  to  the 
west,  against  the  rule  of  the  earliest 
chnrches.     The  mosaics  of  tlio  tribune  are 


ROME 


ascribed  to  llonorius  111.  (l'^lG-;i7).  No 
serious  changes  had  been  made,  apparent- 
ly, from  that  time  till  its  destruction  in 
1823.  The  transept  was  restored  by  the 
architect  Belli,  in  1828—40,  and  the  nave 
rebuilt  in  1841-50,  by  Poletti.  One  or 
two  of  the  original  chapels  still  remain  as 
before  the  fire,  notably  that  of  the  Coro, 
on  the  right  of  the  tribune,  designed  by 
Mademo.  A  new  chapel  lias  been  added 
on  the  other  side  of  the  tribune,  by  Polet- 
ti, and  a  new  camjjanile  built  against  its 
north  side.     {See  Figs.  195, 196.) 

S.  Paolo  alle  The  Foxtaxe.  This 
small  church,  adjoining  that  of  SS.  Vin- 
cenzo  ed  Anastasio,  was  built  about  159U 
for  Cardinal  Aldobrandini,  by  Giacomo 
della  Porta,  to  cover  the  three  fountains 
tliat  sprung  up  in  the  places  where  St. 
Paul's  head  bounced  three  times  after  it 
was  cut  off.  It  is  of  peculiar  jilan,  con- 
sisting of  a  transverse  nave,  or  what  may 
be  called  a  detached  transeist,  standing  be- 
tween an  ajjse  and  a  small  entrance  iiorcli. 
This  transept  has  a  shallow  apse  and  altar 
at  each  end,  and  the  fountains  sjjring 
from  three  niches,  in  the  prin- 
cipal ajjse  and  in  the  wall  of  tlic 
transept  on  each  side  of  it.  The 
design  is  simjile,  the  interior  be- 
ing covered  with  a  tunnel-vault 
broken  by  lunettes,  and  the  ex- 
terior and  interior  ornamented 
with  a  single  order  of  pilasters. 
(See  also  Sta.  Maria  Scala  Celi.) 

St.  Peter's,  the  so-called  Ba- 
silica of  S.  Pietro  in  Vaticano. 
the  largest  and   most  imposing 
of  Christian  churches,  is  magnif- 
icently  placed    at   the   western 
end  of  a  large  open  square,  the 
usual   orientation    of    Christian 
churches,    negligently   followed 
in    Italy,    being   here   reversed, 
and  the  fa(;ade  fronting  the  east.    It  is  ap- 
proached through  two   successive   courts 
nearly  a  quarter  of  a  mile  in  length    {see 
Fig.  A97)— first  a  great  oval  more  tlum  700 


ft.  broad,  lined  with  open  porticoes  of  four 
rows  of  Tuscan  columns,  next  an  open- 
fronted  quadrangle  some  400  ft.  deep,  its 
sides  faced  by  galleries  which  continue  in 
pilasters  the  order  of  the  open  colonnades, 
and  which  enclose  at  the  end  the  facade  of 
the  church.  This  facade  is  a  plain  rec- 
tangle, some  380  ft.  long  by  1,")0  ft.  high, 
composed  of  a  single  gigantic  Corinthian 
order  108  ft.  high,  standing  on  a  stylo- 
bate  of  IS  ft.  and  crowned  by  a  tall  attic. 
It  is  a  sinii)le,  straight  front,  divided  by 
pilasters,  with  level  sky-line,  and  only 
slightly  broken  by  a  portico  of  four  en- 
gaged columns  carrying  a  ])edimont,  which 
covers  the  end  of  the  nave.  The  simijlic- 
ity  of  the  front  is  relieved  only  by  the 
decorations  of  the  doors,  windows,  and 
niches  that  occupy  the  intercolumniations, 
and  by  the  statues  and  the  trojdiy-like 
clocks  that  crown  the  balustrade.  Five 
doors  give  entrance  to  the  front,  ap- 
proached by  a  great  stone  platform,  to 
which  stejjs  lead  up  on  three  sides.  The 
Corinthian  order  which  decorates  the 
i'ront  is  carried  round  from  the  nave  and 


Fig.  196. — Rome,  S.  Paolo  fuon,  Clolstet. 


choir,  being,  in  fact,  the  order  designed 
by  Michael  Angelo,  which  envelops  the 
whole  church.  The  exterior  is  built  of 
the  warm  yellow  travertine  which  is  the 


407 


HOME 


principal  huildiiig-stdiie  ol'  Komo.     From  But   the  glory  of  the  church  is  its  iu- 

any  possible   outside   position   the   cruci-  terior.     The  plan  is  simple — originally  a 

form   disposition,    shown    within    by   the  Greek  cross  with   long  arms  and  apsidal 

dominating  height  of  the  nave  and  trail-  ends,  its  centre  covered  by  the  great  tlome, 

sept,  is  entirely  lost,  the  walls  being  car-  resting  on  four  piers,  outside  which  runs 

ried  up  uniformly  to  the   height  of   the  a  broad  sqnare  aisle  intersecting  every  arm 

nave  vault,  so  that  the  building,  with  its  of  the  cross.     To  this  is  prefixed  tJie  nave 

three  tiers  of  windows,  is  a  huge  pala-  of   three  additional   bays,  with  aisles  and 

tial  mass,  to  three   sides  of  which  cling  lateral  chapels,  the  whole  preceded  by  the 

majestic  round  apses,  and  to  the  fourth  spacious    narthex   in    two    stories   Avhich 

the  advancing  nave,  while  out  of  the  mid-  crosses  the  front  behind  the  fa(;ade.     One 

die  soars  the  great  dome.     The  substruct-  enters  from  the  front  by  the  narthex.   a 

ure  of  the  dome  is  a  round  drum,  which  great  vaulted  gallery  or  hall,  4:0  ft.  wide, 

serves  as  a  stylobate  and  lifts  it  above  the  and  340  ft.  long,  including  the  two  lateral 

surrounding  roofs.     On   this   stands   the  vestibules  at  either  end.  in  which   stand 


ring-wall  of  the  tainl)our,  decorated  with 
a  Corinthian  order  and  carrying  an  attic, 
and  on  this  sits  the  oval  mass  of  the  no- 
blest dome  in  the  world.  The  tambour, 
.50  ft.  high,  is  pierced  by  sixteen  square- 
headed  windows.  The  enormous  tliick- 
ness  of  the  stylobate  allows  an  outside 
offset  sufficient  to  receive  the  buttress- 
es, which  are  set  between  the  windows, 
in  the  siiape  of  spur-walls  with  engaged 


equestrian  statues  of  Constantine  and 
(vharlemagne.  It  is  sumptuously  orna- 
mented in  stucco  and  gilding.  Over  the 
middle  entrance  is  a  famous  mosaic,  exe- 
cuted in  I'i'JS  by  Oiotto  for  the  original 
basilica  of  St.  Peter.  It  is  called  the 
Xavicella,  and  represents  St.  Peter  walk- 
ing on  the  sea,  but  is  much  transformed 
Ijy  restorations.  Five  doorways  lead  into 
the  church,  corresponding  to  tliose  in  the 


colunius   at   the  corners,  over  which  the  fa9ade,  and  the  central  one,  opposite  the 

eutaljlature  is  broken.     The  curve  of  the  Navicella.   which  is   used   only  for  great 

dome,  liigher  than  a  semicircle,  is  of  ex-  ceremonies,  is  closed  by  two  bronze  doors, 

traordinary   beauty.       Between    its    ribs,  likewise  from  the  old  basilica,  the  work  of 

corresponding  to  the  buttresses  below,  are  the  architect  Filarete,  and  Simone  Ghini, 

three  diminishing   tiers  of   small  dormer  sometimes    called    without    warrant    the 


windows.     The   lantern   above,    witli    an 

Ionic  order,  re^jcats  the  arrangement   of 

windows  and   buttresses  in   the   tambour 

below,   and    is   surmounted    by   a    Latin 

cross,  rising,  it  is  said,  44cS  ft.  above  the 

pavement.     The   sacristy,    adjoining    tlie     and  the  pendentives  of  tlie  dome.     The 

south   transept,  and  connected  with   the     nave  is  of  83  ft.  span  and  300  ft.  long,  in 

churc'li   by  two  galleries,  would  itself  be     four  bays  divided  by  massive  piers  Avith 


brother  of  Donatello.  The  modulus  of 
tile  interior  is  the  immense  Corinthian  or- 
der. 100  ft.  Iiigh.  corresponding  nearly  to 
tlie  external  order,  which  carries  the 
vaults  of   the  nave,  choir,  and  transept. 


an  imposing  building  anywhere  but  under 
the  siiadow  of  St.  Peter's.  The  galleries 
lead  to  a  central  building  in  which  are 
three  great  and  richly  adorned  halls  serv- 
ing as  special  sacristies,  the  middle  one 
octagonal  and  covered  bv  a  dome  with  a 


arches  40  ft.  wide.  Each  pier  is  faced 
with  two  pilasters,  carrying  a  full  entalila- 
ture  on  which  rests  the  coffered  tiiunel- 
vault  150  ft.  high.  The  same  ordinance 
and  the  same  vault  are  carried  through 
tlie  other  arms  of  the  cross.     An  iiiserip- 


cupola  I.")0  ft.  high.  The  rest  is  a  pair  of  tion  on  the  marble  floor  at  the  middle 
tall,  many-storied  wings  wliicli  enclose  a  door  records  the  whole  inside  length  from 
court,  and  in  which  the  canons  are  lodged,      the  back  of    the    trilnine.   8.57  palini.   or 


■108 


ROME 


614  ft.  ;  00  ft.  added  to  this  givo  the  ex- 
treme outside  length,  710  ft.  The  bi-eadth 
across  the  transept  is,  by  Fontanu's  plans, 
445  ft.  inside.  485  over  all.  Large  seg- 
meutal-headed  windows,  cutting  into  tlie 
vault  like  lunettes,  give  it  light.  The 
aisles  are  divided  by  cross-arches  in  two 
stories  into  bays  which  are  covered  witli 
small  oval  domes,  and  which  open  into 
lateral  chapels.  From  the  third  bay  on 
each  side  opens  a  very  large  rectangular 
chapel,  45  ft.  by  80  ft.,  with  a  vaulted 
ceiling,  and  decorated  with  great  richness, 
that  on  the  south  called  the  Gregorian 
Cha23el,  or  choir-chapel,  that  on  the  north 
the  Chai^el  of  the  Holy  Sacrament.  Tlie 
nave  leads  to  a  rotunda  between  tlie  four 
colossal  piers,  really  towers  62  ft.  square, 
which  carry  the  pendentives  of  the  dome. 
At  the  junction  of  the  three  added  bays 
of  the  nave  the  plan  expands  with  mar- 
vellous effect.  The  great  piers  are  iso- 
lated in  a  vast  square  ;  tlie  quadrangular 
ai.sle  that  surrounds  them  is  nearly  50  ft. 
wide — as  wide  as  any  church  naves  but 
the  widest — and  about  300  ft.  long  each 
way,  its  angles  marked  by  small  domes. 
Great  arches  150  ft.  high  and  80  ft.  wide 
open  into  the  rotunda,  whose  height  and 
amplitude  are  overpowering.  The  modil- 
lioned  cornice  of  the  entablature  that  en- 
circles and  crowns  the  pendentives,  is  175 
ft.  high  above  the  floor.  It  carries  the 
tamljour,  decorated  with  a  Corintliian 
order  corresponding  to  that  outside,  and 
having  coupled  pilasters  in  the  intervals 
of  tlie  sixteen  windows,  which  are  capped 
hy  pediments.  From  an  attic  above  the 
order  springs  the  inner  shell  of  the  dome, 
somewhat  lower  in  curve  than  tlie  outer, 
ribbed  and  panelled,  and  showing  the  in- 
terior of  the  lantern  through  an  opening 
at  the  top.  The  clear  span  of  the  dome  is 
140  ft.,  the  height  .330  ft.  to  the  opening 
of  the  lantern.  The  interior  of  this,  GO 
ft.  high  and  covered  by  a  small  dome,  is 
too  much  foreshortened  by  its  jiosition  to 
be  clearlv  seen  from  below.     In  the  cen- 


tre, over  the  liigli-altar,  is  the  monstrous 
bronze  baldacchino,  baroco  in  style,  and 
95  ft,  high,  designed  by  Bernini,  who  also 
added  the  preposterous  throne,  or  shrine, 
supported  by  statues  of  four  early  fathers 
of  the  church  and  encompassed  by  a 
swarm  of  cherubs  riding  on  bronze  clouds, 
whicli  incloses  the  legendary  chair  of  St. 
Peter,  and  occupies  the  western  tribune. 
The  interior  architecture  is  mainly  of 
stucco  enriched  with  gilding — the  great 
order,  the  panelled  vaults  and  architect- 
ural details,  and  the  interior  of  the 
dome.  But  the  pendentives  and  panell- 
ing of  the  dome  are  rich  with  mosaics ;  in 
the  iiendentives  are  round  panels  charged 
with  huge  mosaics  reijreseuting  the  four 
evangelists.  The  church  abounds  in  al- 
tars and  tombs,  built  of  colored  marbles 
and  niched  into  the  intercolumniations. 
Popes,  kings,  and  saints  are  buried  here. 
Hundreds  of  statues  stand  about  the 
tombs  and  altars,  or  fill  niclies,  or  slide 
down  tlie  backs  of  archivolts  ;  sub-orders 
of  columns,  niches,  pediments,  balconies, 
enliven  the  wall-spaces  of  the  piers.  In 
front  of  the  baldacchino  a  double  horse- 
shoe staircase  leads  down  to  an  open  space 
in  front  of  the  high-altar,  called  the  Con- 
fessio,  which  serves  as  anteroom  to  the 
labyrinthine  crypt,  and  whicli  sliows  in  a 
niche  under  the  altar  the  tomb  of  St. 
Peter.  The  crypt  is  in  two  j'nrts — first, 
the  three-aisled  crypt  of  the  old  basilica, 
extending  eastward  under  the  nave  ;  sec- 
ond, an  oval  gallery  encircling  the  mid- 
dle space  in  which  are  the  confessio  and 
the  cruciform  Chajiel  of  the  Confession, 
and  communicating  with  four  radiating 
passages  which  lead  to  four  chapels  in  the 
foundations  of  the  great  piers,  and  to  as 
many  staircases  for  access  to  chapels 
above.  In  the  old  crypt  are  many  tombs 
of  popes  and  other  dignitaries,  removed 
thither  when  the  old  basilica  was  pulled 
down. 

The  church  occupies   the  site  of  one  of 
the  earliest  and  most  venerated  of  Chris- 


-lO!* 


KOMK 


tiaii  basilicas,  that  built  l)y  Coustantine 
over  the  Circus  of  Nero,  a  place  conse- 
crated by  the  blood  of  the  early  martyrs, 
and  covering  the  adjacent  tomb  or  ilarty- 
rium  of  St.  Peter,  which,  according  to 
tradition,  is  that  which  is  still  preserved. 
Constantine,  the  tradition  says,  passing  the 
jilace  in  his  triumphant  entry  into  Rome 
after  his  defeat  of  Maxentius,  vowed  a 
memorial  church  to  St.  Peter,  and  not  long 
after  laid  the  corner-stone  with  great  so- 
lemnity. It  was  the  largest,  if  not  the 
oldest,  built  in  32-1—330,  a  five  -  aisled 
church,  not  far  from  -100  ft.  long  and  200 


Fig.    197.— Rome.  St.  Peter's  with   its  Colonnades. 


ft.  across,  with  transept  projecting  to  270 
ft.,  and  a  nave  70  ft.  wide.     Its  decora- 
tions  and  furniture,    destroyed  and   dis- 
persed at  or  before  its  destruction,  were 
the  wonder  of  pilgrims  and  church  his- 
torians  during   the   middle   ages.       This 
church,  built  in  haste,  on  intirm  ground 
and  at  a  time  of  decadence,  required  con- 
stant repairing,  and  after  eleven  hundred 
years  of  care,  varied  by  occasional  neglect 
and  even  ill  usage,  had  become  so  unsound 
that  in  the  middle  of  the  xv  cent.  Nicho- 
las  V.   resolved  to  build  a  new  church, 
which  should,  he  said,  equal  in  magnif- 
icence the  Temple  of  Solomon.     He  sum- 
moned from  Florence  the  architects  Ber- 
nardo Kussellino,  and  Alberti.     Between 
them  they  j)lanned  an  enormous  churcii 
which  was  intrusted  to  Rossellino,  and  in 
1450  work  was  begun  on   the  tribune  of 
it   behind   the   apse   of   the   old  basilica. 
Nicholas  died  in    1455,  when  the   walls  of 
the    new   apse    were    barely    seen   above 
ground,  and  no  pope  resumed  the  project 
till   Julius   II.     He,  early   in   his   reign, 
having  commissioned  Michael  Angelo  to 
build   him  a  splendid  tomb,  and  casting 
about  for  a  place  to  put  it,  decided  to  take 
up  the   project  of   Nicholas.     Architects 
were  called  into  council — the   two  San- 
galli,    Peruzzi,    Fra    Giocondo,  and    Bra- 
mante.     The  last,  then  in  the  fulness  of 
his   fame,  prevailed.      Flushed  with    en- 
thusiasm for  the  revival  of  classical  archi- 
tecture in  its  purity,  and  full  of  audacious 
conceptions,  he  resolved  to  build  a  more 
s))lendid   cliurch  and  more  strictly  classi- 
cal than  had  yet  been   built,  proposing  to 
himself,  we  are  told,  to  "  set  the  dome  of 
the  Pantheon  upon  the  arches  of  the  Tem- 
ple of  Peace."     Pope  and  architect  fell  to 
work  with  equal  eagerness,  Julius  to  raise 
money  by  the  sale  of   indulgences  all  over 
Europe — which  specially  roused  the  indig- 
nation of  Luther,  and  did  more,  perhajis, 
than    any  other   thing   to  precipitate  the 
protestant  Reformation — Bramante  to  pull 
down  the  old  basilica  and  be<;in  the  new. 


ROME 


Fig,  198.— Rome,  St    Peter's. 


Tlie  corner-stone  was  laid,  in  tlie  founda- 
tion of  tlie  S.  W.  jiier  of  the  dome,  on 
April  18, 1506.  Bent  on  realizing  liis  main 
conceiition  of  the  dome,  Bramante  pressed 
the  construction  of  the  four  great  piers 
and  their  arches  so  eagerly,  that  at  the 
time  of  Julius's  death,  in  1513,  they  were 
nearly  ready  for  its  base.  But  tlie  effects 
of  haste  and  of  inadequate  construction 
showed  themselves  in  serious  settlement 
and  cracks.  Braniante  died  a  few  months 
after  Julius,  leaving  the  work  in  this  con- 
dition. It  would  apjjear  that  his  designs 
were  lost  or  destroyed,  and  it  is  in  dispute 
whether  he  intended  a  nave  and  aisles, 
and  what  form  he  would  have  given  to 
the  outside.  Serlio  published,  half  a  cen- 
tury later,  a  plan  which  he  ascribed  to 
Bramante,  but  it  is  more  likely  that  it  was 
a  modification  proj)osed  by  Raphael,  whom 
Bramante  on  his  death-bed  recommended 
as  his  successor  to  Leo  X.,  the  new  pope. 
It  is  jirobable  tliat  Braniante's  plan,  like 
Jlichael  Angelo's,  was  for  a  Greek  cross, 
and  it  seems  hardly  doubtful  that  he  de- 
signed  the   church    with    a   siiiirle   order 


within  and  without,  as  it  was  executed. 
In  tliis  innovation,  followed  by  Michael 
Angelo,  he  set  a  fashion  which  greatly 
changed  the  course  of  Renaissance  archi- 
tecture, abandoning  the  older  treatment 
of  a  smaller  order  in  each  story,  and 
bringing  the  style  back,  as  tliey  argued, 
to  the  simplicity  and  dignity  of  classic 
models,  though  some  modern  critics,  M. 
Geymiiller  for  instance,  restore  it  with 
two.  Raphael  wasajipointed  in  Braniante's 
place,  aud  Giuliano  Sangallo  and  Fra 
Giocondo  were  also  called  in.  All  three 
died  successively  in  the  next  half-dozen 
years,  Raphael  last,  leaving  a  plan  behind 
him  ;  but  nothing  had  been  accomplished 
except  to  strengthen  the  inadequate  con- 
struction of  Bramante.  Baldassare  Peruz- 
zi,  and  Antonio  Sangallo,  the  nephew  of 
Giuliano,  were  next  a])i)ointed.  To  dimin- 
ish the  cost,  Peruzzi  again  changed  the 
plan,  omitting  the  long  nave  proj^osed  by 
Raphael,  and  restoring  the  Greek  cross. 
His  plan,  preserved  by  Serlio,  was  in  the 
main  like  that  which  was  afterward 
adopted   by   Michael   Angelo,    but    more 


ROME 


complicated.  Nothing  of  importance 
seems  to  have  been  accomplished  till  the 
[Kiutilicate  of  I'aul  III.  I'ernzzi  died  in 
l.");5(),  and  Paul,  taking  up  the  project 
anew,  ordered  a  new  design  of  Sangallo. 
Ilis  elaborate  model,  26  ft.  long  and  13 
ft.  high,  is  still  preserved,  and  shows  a 
radical  c-hango  of  design.     He  pretixeil  nn 


insisted  on  bringing  him  from  Florence  to 
take  charge  of  the  work.  Michael  Angelo 
at  last  consented,  and  in  a  fortnight  pre- 
pared a  new  model,  which,  like  Sangallo's, 
is  still  preserved.  He  simplified  Peruzzi's 
plan,  struck  off  Sangallo's  narthex,  sub- 
stituting a  plain  portico  of  detached  col- 
umns, and  restored  the  single  great   order 


v«.i 


Fig.  199.— Rome,  St.  Peter's,  Rear. 


enormous  narthex.  flanked  by  two  high 
towers,  and  reverting  to  the  earlier  Re- 
naissance manner,  carried  two  small  orders, 
separated  by  a  mezzanine,  over  the  whole 
design,  instead  of  tiie  single  great  order  of 
tiie  previous  architects.  But  in  15-10  he 
also  died,  having  done  little  but  to  pre- 
pare his  design,  and  still  further  strength- 
en the  inadequate  masonry  of  Branumte. 
At  this  point  Paul  summoned  Michael 
Angelo,  who  had  found  fault  with  San- 
gallo's design,  calling  it  Gothic  iii  char- 
acter, and  ill  s[iiie  of  liis  repeated  refusals 


as  we  now  see  it.  l''or  the  rest  of  his  life 
he  gave  himself  up  to  this  work,  turning 
off  the  Jobbers  who,  as  appears,  had 
fastened  themselves  upon  it,  refusing 
every  year  the  fee  that  was  offered  him  for 
his  services,  maintaining  his  2)osition  and 
the  confidence  of  four  successive  popes, 
in  S2)ite  of  detraction,  intrigue,  and 
calumny.  He  began,  like  his  predecessors, 
by  further  strengthening  Branuinte's  un- 
lucky piers,  pulled  down  the  small  addi- 
tions of  Sangallo,  and  in  the  course  of  his 
seventeen  vears'  administration  succeeded 


EOME 


in  earrryiug  up  the  walls  and  facing  tlioin 
with  the  exterior  order,  establishing  the 
interior  order,  building  the  pendentivi's 
and  stylobate  of  the  dome,  and  construct- 
ing a  model  of  the  dome  itself  so  thor- 
oughly detailed  that  there  was  no  excuse 
for  departing  in  any  degree  from  his  in- 
tentions. Xear  the  end  of  his  adminis- 
tration Vignola  and  Pirro  Ligorio  were 
appointed  to  assist  him,  and  when  in  15G-1 
he  died,  at  the  age  of  eighty-nine,  they 
succeeded  him  on  the  exjjress  condition 
that  they  should  make  no  change  in  his 
design.  Ligorio  was  soon  discharged  by 
Pius  v.,  then  pope,  and  Vignola,  left  in 
authority,  scrupulously  carried  out  the  do- 
sign,  finishing  the  exterior  all  but  the 
fa9ade,  including  the  tambour  of  the 
dome  with  its  order,  and  building  two  of 
the  four  small  cupolas  with  wliicli  Michael 
Angelo  had  proposed  to  surround  it. 
A'iguola  died  in  1573,  aiul  the  work 
languished  till  the  accession  of  Sixtus  V., 
who  appointed  Giacomo  della  Porta,  a 
pupil  of  Vignola,  and  Domenico  Fontana 
to  continue  it.  They,  with  Sixtus's  per- 
mission, changed  the  curve  of  the  dome, 
giving  it  the  superb  outline  which  dis- 
tinguishes it  from  all  others,  and 
pressing  it  with  great  energy,  finished 
it  in  two  years,  so  that  Sixtus,  in  1.590, 
laid  with  great  ceremony  the  finishing 
stone  of  the  ring  that  was  to  support  the 
lantern.  Fontana  meanwhile  had  won 
reputation  by  transporting  and  setting  up 
the  great  obelisk  in  the  square  in  front, 
and  Delia  Porta,  who  was  a  clever  de- 
signer of  ornament  in  stucco,  had  adorned 
the  interior.  The  lantern  was  added  un- 
der Clement  VIII..  but  it  was  not  till  Paul 
V.  that  the  facade  was  undertaken.  He, 
finding  the  length  of  the  nave  inadequate 
for  the  crowd  that  attended  the  great  fes- 
tivals, and  insisting  that  the  whole  con- 
secrated area  of  the  original  basilica  should 
be  included,  called  a  new  comjietition,  in 
which  the  project  of  Carlo  ^laderno.  a 
nephew    of    Fontana,    was    c^liosen.     lie 


atlded  three  bays  to  the  nave,  so  reverting 
to  the  plan  of  the  Latin  cross  as  jaroposed 
by  llaphael,  and  built  the  facade,  wjiicli 
bears  tlie  date  M I )( 'X 1 1 .  The  next  pope. 
Urban  VIII.,  appointed  Bernini  to  finish 
the  work,  who  continued  the  interior 
decoration,  and  later,  under  Alexander 
VII.,  added  the  sjjlendid  porticoes  and 
galleries  that  lead  up  to  the  fa9ado.  He 
also  made  the  statues  of  Constautine  and 
Charlemagne  that  occupy  the  two  vesti- 
bules. Maderno  had  attempted  to  add 
two  towers  on  the  flanks  of  his  facade,  but 
had  blundered  so  in  his  foundations,  that 
he  gave  it  up  as  impracticable.  Bernini 
unwisely  undertook  to  carry  out  Aladerno's 
plan,  and  was  soon  stopped  by  the  failure 
of  the  masonry.  This  was  made  a  i)re- 
text  for  disjilacing  him  by  Borromini, 
who  thus  got  the  opportunity  to  adorn 
the  interior  with  the  sprawling  colossal 
figures  in  stucco  that  disfigure  the  nave. 
Alexander  VII.  reappointed  Bernini,  and 
his  additions  practically  finished  the  great 
work  which  had  been  in  hand  for  two 
centuries,  under  thirty  popes,  and  fifteen 
architects,  the  most  distinguished  of  their 
time.  The  only  imijortant  later  addition 
was  the  sacristy,  by  Marchioni,  in  lTTG-81. 
The  men  whose  hands  are  distinctly  seen  in 
the  result  are  Bramante,  Michael  Angelo, 
and  Bernini  in  right  of  their  talents,  aiul 
Maderno  by  virtue  of  his  opiiortunity. 
To  Bramante  belongs  the  great  concep- 
tion, so  firmly  held  and  so  clearly  set  forth 
that,  except  for  the  momentary  aberration 
of  Antonio  Sangallo,  none  of  his  succes- 
sors thought  seriously  of  departing  from 
it :  to  Michael  Angelo  tlie  form  in 
which  the  conception  was  embodied,  the 
details  of  the  plan,  the  design  of  tlie  out- 
side and  inside  orders,  and  of  the  dome, 
with  its  peristyle  of  buttresses  and  its 
lantern  ;  to  Maderno  the  first  serious  de- 
parture from  the  intention  of  his  great 
jjredecessors,  probably  enjoined  upon  him 
by  the  pope,  and  the  commonplace  fa9ade  ; 
to  Bernini  the  noble  approach.     It  is  uni- 


413 


ROME 


versally  recognized  that  the  design  of 
Bramuute  aud  Michael  Angelo  is  greatly 
injured  by  the  lengtliening  of  tlie  nave, 
wliich  covers  the  dome  from  the  accessible 
points  of  view,  and  liides  the  groui^ing  of 
the  principal  jjarts  of  the  church.  It 
must  be  said,  however,  that  the  great 
artists  to  whom  the  cliurch  owes  its 
splendor  also  contributed  each  in  some 
way  to  diminish  its  efEect ;  for  the  single 


feels  tlio  clnircli  to  be  smaller  than  he  had 
expected.  Tiie  difficulty  is  increased  by 
the  colossal  size  of  the  sculptured  figures 
in  the  decoration,  which  suggest  a  false 
scale,  and  mislead  the  spectator's  judg- 
ment. Bernini,  too,  contributed  his  mis- 
calculation, for  instead  of  making  the 
long  galleries  which  connect  his  colon- 
nades witli  tlie  church  parallel  to  each 
other,  and  at  right  angles  with  the  front. 


Fig.  200  — R, 

great  order,  for  which  both  Bramante  and 
Micliai'l  Angelo  are  responsible,  while  it 
adds  dignity  to  the  design,  undoubtedly 
teiuls  to  dwarf  it  and  prevents  its  scale 
from  being  appreciated.  The  grandeur  of 
the  design  appears,  not  from  the  front, 
but  from  some  point  in  the  rear  where  the 
dome  can  be  seen  in  combination  with 
the  apses  that  surround  it.  Inside,  the 
length  of  the  nave  adds  to  the  effect  of 
the  cliureh,  but  the  enormous  scale  of 
the  principal  order  is  even  more  deceptive 
tlian    outside,    and    almost    everv    visitor 


he  made  them  converge  from  it.  The  ef- 
fect to  one  wiio  apprciaches  the  church  is  to 
apparently  shorten  them  and  make  it  look 
nearer  than  it  is,  and  therefore  smaller. 
But  familiarity,  and  especially  the  presence 
of  a  crowd  of  peojile.  enable  the  spectator 
to  comijrehend  the  size  of  the  interior, 
and  the  final  impression  is  one  of  over- 
whelming grandeur.  Many  faults  have 
occurred  in  the  construction  of  the 
church.  The  foundations  of  Maderno's 
front  were  out  of  line  and  so  weak,  as  we 
have  seen,  tliat  tlie  tower  which   Bernini 


ROME 


tried  to  build  on  tiioiu  had  to  l)e  taken 
down.  Bramante's  piers  were  strength- 
ened again  and  again  by  liis  successors,  and 
only  when  they  were  finally  reinf(n'ced  by 
Michael  Angelo,  were  thought  strong 
enough  to  carry  the  dome.  Built  of  solid 
stonework,  they  would  have  sufficed  with 
half  their  jiresent  size  ;  but  they  are  of 
rubble  and  concrete,  faced  with  plaster. 
A  century  after  the  church  was  finished 
it  appeared  that  there  were  serious  cracks 
in  and  under  the  dome.  A  council  of 
architects  and  engineers  was  called,  who 
decided  that  the  tambour  and  dome  must 
be  strengthened  by  iron  bands,  and  this 
was  accordingly  done  at  four  or  five  levels. 
Cracking  and  splitting  of  the  masonry 
has  gone  on  slowly  but  continuously  since 
that  time  ;  and  a  commission  appointed 
to  examine  the  dome  some  years  ago,  re- 
ported that  the  structure  had  seriously 
deteriorated  in  consequence.  Under  these 
conditions,  it  requires  a  sanguine  spirit  to 
trust  that  the  great  work  of  Michael 
Angelo  will  last  as  long  as  its  predecessor, 
the  basilica  of  Constantine.  (See  Figs. 
197-200.) 

S.  PiETRO  IX  Carceke  is  the  name 
given  by  the  Church  to  the  upper  of  the 
two  chambers  excavated  in  the  rock  of 
the  Capitoline  Hill,  and  known  as  the 
Mamertine  Prisons  {q.  v.).  It  is  a  rectan- 
gular apartment  about  30  ft.  long.  23  ft. 
broad,  and  14  ft.  high,  enclosed  in  a  wall 
of  rugged  Etruscan  masonry,  of  which  the 
courses  overlap  horizontally  so  as  to  close 
in  a  false  vault.  The  place  was  in  use  as 
a  Christian  basilica  as  early  as  the  iv  cent. , 
and  in  1475  was  converted  into  a  simjsle 
oratory  under  the  direction  of  Baccio 
Pintelli,  and  dedicated  to  St.  Peter, 
who,  according  to  the  tradition  of  the 
Church,  was  here  kept  in  confinement 
under  Nero.  An  ascending  staircase  of 
twenty-eight  steps  connects  the  chamber 
with  the  church  of  San  Giuseppe  dei  Fa- 
legnami.     (See  Mamertine  Frisoiis.) 

S.  PiETRO  IX  MoxTORio,  a  Renaissance 


church,  stands  in  a  commanding  iiosition 
on  the  Janiculum,  occupying,  it  is  said, 
the  site  of  an  older  one  founded  by  Con- 
stantine to  mark  the  spot  of  the  crucifix- 
ion of  St.  Peter,  and  was  rebuilt  at  the 
end  of  the  XV  cent.,  at  the  instance  of 
Ferdinand  and  Isabella  of  Spain,  from  the 
designs  of  Baccio  Pintelli.  It  consists  of 
a  single  rectangular  nave  about  32  ft. 
wide  and  90  ft.  long,  divided  by  pilasters 
and  transverse  arches  into  three  square 
bays  covered  with  four-part  vaulting.  On 
the  sides  of  the  first  and  second  bays  of 
the  nave  are  small  semicircular  chapels, 
two  to  each  bay.  From  the  sides  of  the 
third  or  easternmost  bay  open  semicircu- 
lar tribunes  or  apses,  occujjying  the  jjlace 
of  transepts,  but  appearing  from  without 
only  as  chapels,  and  its  eastern  end  ex- 
tends into  a  choir  consisting  of  a  single 
rectangular  bay,  terminating  in  a  vaulted 
polygonal  ajise.  The  exterior  design  is  of 
great  simplicity.  The  fa9ade  is  a  plain 
flat  wall  of  stone  in  two  stories,  with  angle 
i:iilasters  and  a  low  gable  ;  in  the  centre  of 
the  first  story  is  a  simple  square  doorway, 
above  it  a  small  wheel-window.  The 
sides  are  divided  by  pilaster-strips  into 
four  compartments,  each  with  a  plain 
round-arched  window.  The  apse  is  abso- 
lutely plain.  On  the  south  side  of  it 
rises  a  square  campanile  witli  an  ojjen 
arched  belfry  and  pyramidal  spire.  At- 
tached to  the  church  on  the  north  side 
are  two  square  cloisters  surrounded  by 
vaulted  arcades,  the  first  containing  in  the 
centre  of  the  enclosure  the  famous  round 
temple  (Tempietto),  built  in  1502  from 
the  designs  of  Bramante,  and  presumed 
to  mark  the  exact  spot  where  the  cross 
of  Peter's  martyrdom  was  set  up.  It  is 
a  circle  of  about  20  ft.  diameter,  sur- 
rounded by  a  Doric  colonnade  of  sixteen 
columns  and  covered  witli  a  hemispheri- 
cal dome  on  a  high  tambour.  The  inte- 
rior has  an  order  of  Doric  pilasters  with 
four  niches  in  the  alternate  intervals. 
T'nder  the  temple  is  a  crypt  with  its  walls 


ROME 


divided  iuto  puuels  by  i)il;istors,  and  witli 
a  low  vaulted  ceiling  panelled  and  ricldy 
decorated  with  reliefs  in  stucco.  l?ra- 
maute  projected  a  rebuilding  of  the  clois- 
ter with  a  circular  colonnade  concentric 
with  that  of  the  temple,  but  the  design 
was  never  carried  into  execution. 

S.  FiETiio  IX  ViNroLi  (St.  Peter  in 
Chains),,  called  oflicially  the  Basilica  Eu- 
doxiana,  is  a  plain  basilica  of  the  v  cent., 


Eudocia,  sjiontaneously  linked  themselves 
into  a  single  chain  when  they  were  brought 
together.  Hence  the  different  names  of 
the  church — Titulus  (parish  church)  Eu- 
doxiffi.  Basilica  Eudoxiaiia,  and  S.  Petrus 
in  Vinculis.  It  has  been  several  times  re- 
stored: in  556  by  Pelagius  I.  as  an  inscrip- 
tion on  it  shows  ;  by  Adrian  II.  (772-95)  , 
by  Sixtus  IV.  (1-170),  to  whom  the  vaults 
are  due  ;  for  Julius  II.  by  Baccio  Pintelli ; 


consisting  of  a  nave,  aisles,  and  transept  and  finally  modernized  in  1705  by  Fran- 
with  three  eastern  apses.  It  is  mostly  cesco  Fontana,  who  remodelled  the  nave 
covered  by  adjacent  buildings,  and  the  and  added  the  wooden  ceiling.  The  ad- 
exposed  front  added  by  Baccio  Pintelli  is  joining  cloister  is  believed  to  be  the  work 
very  simple — an  open  arcade  of  five  bays  of  Antonio  Sangallo,  who  is  buried  in 
carried  on  grouped  pilasters,  with  a  plain  the  church.  It  is  surrounded  by  a  very 
story  of  as  many  square-headed  windows  open  arcade  of  plain  arches,  carried  on 
above.     The  nave  is  spacious  but  short,  Ionic   columns.     In    the  centre  is  a  w(dl 


being  50  ft.  by  125  ft.  The  aisles  are  of 
less  than  half  the  width  of  the  nave,  and 
the  main  arcades  are  unique,  having  nar- 
row arches  that  rest  directly  on  two  rows 
of  ten  slender  Greek-Doric  columns  of 
Parian  marble,  perfectly  uniform,  whose 
shafts  are  monoliths,  and  provided  with 
bases.  The  old  decoration  and  the  old 
windows  of  the  nave  have  been  displaced, 
the  walls  stuccoed  over,  and  a  vaulted  ceil- 
ing added  in  modern  times.  The  trium- 
phal arch  is  borne  by  two  Corinthian 
columns  backed  by  grouped  pilasters. 
The  jiriucipal  apse,  or  tribune,  retains  the 
ancient  bishops'  chair,  but  has  lost  the 
lining  of  marble  and  mosaic  which  prob- 
ably once  covered  it.  'I'lie  vaulting  of  the 
transept  is  modern,  and  ]n'obably  that  of 
the  ai.sles.  In  the  riglit  arm  of  the  tran- 
sept is  the  famous  monument  of  Julius  II., 
who.  however,  is  buried  in  St.  Peter's.  It 
is  hilt  a  fragment  of  the  original  design, 
and  its  principal  interest  is  in  the  statue 
of  .Moses,  by  Michael  Angelo,  which  is  its 
most  conspicuous  feature.  Tlie  church 
was  founded  in  or  near  i-i'i  by  tiie  em- 
press Eudoxia,  as  a  depository  fur  St. 
Peter's  chains.  These,  one-halt'  of  them 
preserved  in  Rome  and  one-half  brought 
from  Jerusalem  by  the  empress's  mother 


with  an  octagonal  sculptured  curb,  under 
an  entablature  borne  by  four  Ionic  col- 
lunins,  which  is  ascribed  to  Michael  An- 
gelo, but  is  doubtless  by  the  designer  of 
the  cloister. 

Sta.  Phassede,  an  early  basilica,  built 
in  memory  of  St.  Praxedis.  daughter  of 
the  senator  Pudens,  with  whom,  accord- 
ing to  tradition,  St.  Paul  lodged  during  his 
stay  in  Rome.  There  is  some  appearance 
of  confusion  between  this  churcli  and  Sta. 
Pudentiana  {fj.  v.),  in  the  legends  whicii 
place  both  on  the  site  of  an  oratory  built 
in  the  ii  cent,  by  Pius  I.  Record  tells  as 
early  as  the  end  of  the  vcent.,  of  a  church 
which  fell  into  decay,  ami  was  replaced 
in  S17-S20.  under  Paschal  I.,  by  a  new 
building  which  still  remains,  apparently 
on  an  adjoiinng  site.  It  has  a  nave  and 
aisles, sei)a rated  Ijy  two  rows  of  Corinthian 
columns  caiM-ying  an  entablature  which  is 
relieved  by  Hat  bearing-arches  in  the  wall 
over  each  intercolumniation,  a  transept, 
and  apsidal  choir.  The  old  atrium,  built 
about  with  modern  buildings,  is  represent- 
ed by  a  small  court-yard  that  only  partially 
disphivs  the  front,  renewed  in  the  XVI 
century.  This  is  reaejicd  l)y  a  passage  at 
whose  entrance  is  an  interesting  origimxl 
porch,  a  barrel-vaulted  bay,  borne  on  pro- 


ROME 


jecting  lintels  ami  supportL'il  liy  a  pair  of 
Ionic  columns.  The  nave,  44  I't.  wide, 
has  a  nioflern  flat  coffered  ceiling  ;  the 
narrow  transept  is  blocked  by  a  bell-tower 
and  by  screens ;  and  the  choir,  which 
extends  across  the  middle  of 
it,  is  raised  several  steps 
over  the  semicircular  con- 
fessio,  in  \vliich  are  the 
tombs  of  St.  Praxedis  ami 
her  sister  St.  Pudeutiana. 
with  others.  The  marked 
peculiarity  of  the  church, 
one  which  has  been  a  sub- 
ject of  controversy  among 
archaeologists,  is  that  every 
third  column  is  replaced  liy 
a  pier  carrying  an  arch 
across  the  nave,  as  in  S. 
Miniato  in  Florence  and 
some   other   later   basilicas. 

These  arches,  repeated 

across  the  aisles,  divide  the 
church  into  bays  of  three 
intercolumniations  each,  a  peculiarity 
which,  if  it  could  be  shown  to  belong 
to  the  original  structui-e,  would  give  the 
first  kuowu  example  of  the  division  into 
compound  bays  which  characterizes  the 
Lombard  and  German  churches.  But  it 
is  probable  that  the  piers  and  arches  were 
later  insertions  added  to  stay  the  colon- 
nades when  the  barrel-vaults  were  built 
over  the  aisles.  The  mosaics  of  the  apse 
and  the  triumj^hal  arch,  which  date  from 
the  first  building  of  the  church,  are  very 
interesting.  So  are  those  which  decorate 
the  chapel  of  St.  Zeno,  or  of  the  Colonna 
Santa,  in  the  right  aisle.  This  chapel  is 
of  the  X  cent.,  and  was  named,  because  of 
its  splendor,  Orto  del  Paradiso.  Other 
chapels  line  the  aisles,  of  which  the  chief 
is  the  Olgiati,  built  near  the  end  of  the 
XTI  cent,  by  Martino  Lunghi.  At  the 
end  of  the  xii  cent.  Innocent  III.  gave 
the  church  to  the  monks  of  Vallombrosa. 
In  the  XVI  S.  Carlo  Borromeo,  its  titu- 
lar cardinal,  built  the   monastery    whose 


cloister  is  liehind  the  choir,  rebuilt  the 
facade,  and  modernized  the  interior.  (See 
Fiy.  201.) 


St  A. 

pying. 


I'kisca,  a  very   old  church,  occu- 
it  is   thought,  the  site  of  Servius 


Fig.  201 —Rome,  Sta.  Prassede. 

Tullius's  temple  of  Diana.  It  was  a  three- 
aided  basilica,  its  arcades  supported  on  six- 
teen columns  of  marble  and  granite,  which 
were  incorporated  into  the  piers  Avhen  the 
church  was  modernized  by  Carlo  Lombardi, 
in  the  beginning  of  the  xvii  century. 
There  is  record  of  the  church  as  early  as 
the  V  cent.,  and  according  to  tradition  it 
dates  back  to  the  ii  century.  A  double 
flight  of  ste]is  leads  down  to  the  crypt, 
which,  according  to  tradition,  was  built 
into  the  house  in  which  St.  Prisca  lived 
and  was  baptized  by  St.  Peter. 

Sta.  PrDEXTiAXA  has  been  called,  ap- 
parently without  sufficient  reason,  the 
oldest  church  in  Rome,  but  retains  little 
of  its  early  aspect.  It  was  a  three-aisled 
l)asilica  without  transc]it.  flat-ceiled,  and 
with  an  apse  of  unusual  form,  segmental 
in  plan,  instead  of  the  ordinary  semicir- 
cular tribune.  The  arcades,  of  wide  span, 
were  carried  on  seven  pairs  of  marlile  col- 
umns. These  had  no  bases,  but  peculiar 
capitals  of  a  kind  of  water-leaf,  and  may 


417 


ROME 


still  be  seen  imbedded  in  the  Inter  i)iers 
added  at  the  time  of  vaulting  the  aisles, 
wliieli  are  now  divided  into  chapels.  The 
two  eastern  bays  have  been  marked  otl  by 
heavier  piers  which  supported  an  oval 
dome  ovei'lappiug  the  ancient  apse.  Tlie 
building  is  believed  to  stand  upon  the 
house  of  the  Eoman  senator  Pudens. 
Avhose  daughters,  St.  Pudentiana  and  St. 
Praxedis  (see  Sta.  Prassede)  were  among 
the  earliest  martyrs.  According  to  tlie 
legend  Pius  I.  in  145  consecrated  a 
church  here,  but  it  is  impossible  that  any 
important  part  of  the  existing  churcli 
should  date  from  that  time.  Tliere  is 
record  of  a  rebuilding  by  Adrian  I.  in  tlie 
latter  part  of  the  viii  century.  lliil)sch 
attributes  the  church  to  the  iv  cent.,  but 
the  width  of  the  arches,  the  slightness 
and  the  structure  of  the  walls,  are  against 
this  theory,  which  is  not  supported  by 
record,  and  Mothes  and  other  late 
authorities  hold  to  the  Viii  century.  In 
like  manner  the  mosaics  of  the  apse  liave 
been  ascribed  to  the  iv  cent.,  but  the  bal- 
ance of  authority  inclines  to  the  ix. 
A  small  chapel,  which  makes  the  end  of 
the  left  or  southern  aisle,  and  was  said  to 
contain  the  table  on  which  St.  Peter  cele- 
brated the  holy  supper,  may  be  part  of  an 
earlier  church  ;  and  the  vaulted  subter- 
ranean rooms  over  which  the  building 
stands  are  doubtless  parts  of  the  jjalacc  of 
Pudens.  The  fact  that  the  church  be- 
longed and  still  belongs  to  a  convent  of 
nuns,  is  reason  for  the  women's  gallery 
over  the  entrance.  The  bell-tower,  im- 
planted in  the  left  aisle,  can  hardly  be 
earlier  than  the  time  of  Adrian  I.,  and  its 
three  upper  stories,  which  resemble  those 
of  S.  M.  in  Cosmedin,  are  probably  later. 
Tlie  church  was  more  or  less  altered  in  tlie 
XI  and  X[I  cents.,  and  considerably  trans- 
[(irnuMl  ill  l.'jOS  under  Cardinal  Gaetano, 
who  added  the  elaborate  chapel  of  the  Gae- 
tani.  opening  out  of  the  left  aisle.  Kecent 
alterations  have  farther  disfigured  it.  with 
special  injury  to  the  mosaics,  which  are 


among  the  finest  of  their  early  period.  At 
the  same  time  the  front,  which  contains  an 
old  doorway  flanked  by  twisted  columns, 
was  restored,  and  ornamented  with  new 
mosaics. 

SS.  QrATTiio  CoRoxATi,  a  small  basilica 
of  unusual  form,  which  took  the  place  of  a 
temple  of  Diaua  in  the  iv  or  v  cent.,  it  is 
said,  and  was  dedicated  to  four  martyrs 
of  the  persecution  of  Diocletian.  It  was 
originally  a  large  church,  with  nave  and 
aisles  separated  by  two  rows  of  thirteen 
columns,  carrying  arcades  and  an  upper 
gallery,  with  a.  western  apse  and  no  tran- 
sept. The  eliurch,  which  in  this  form 
was  probably  the  work  of  Honorius,  early 
in  the  vii  cent.,  and  was  afterward  aug- 
mented by  Leo  IV.,  in  the  ix,  was  de- 
stroyed by  Robert  Guiscard  in  108-4,  and  lay 
desolate  till,  in  1111,  Paschal  II.  rebuilt  it 
on  a  diminished  scale.  The  2)resent  cliurch 
was  made  by  blocking  up  the  arcades  of 
the  old,  so  that  the  original  nave  is  now 
the  whole,  building  into  it  new  aisles, 
arcaded,  vaulted,  and  Avith  galleries  above 
them  :  but  half  the  old  nave  has  l)een 
cut  off  for  an  open  atrium  and  a  vaulted 
narthex,  and  the  aisles,  only  five  bays, 
stop  short  of  the  apse,  leaving  a  kind  of 
transept.  The  nave  and  transejit  are  Hat- 
ceiled,  and  the  apse,  which  takes  the 
whole  width  of  the  church  as  it  now  is, 
and  suffices  for  the  choir,  is  raised  above 
a  crypt  that  contains  in  four  urns  the  re- 
mains of  the  patron  saints.  The  ancient 
bishops'  chair  still  keeps  its  place  in  the 
centre  of  the  wall  of  the  apse.  The  orig- 
inal atrium,  in  front  of  the  whole  building, 
remains,  but  is  encroached  on  by  the 
nunnery  to  wliicli  the  church  belongs. 
From  it  opens  the  Chapel  of  St.  Sylvester, 
added  at  the  end  of  the  Xiii  century.  The 
churcli  is  held  in  reverence  by  the  stone- 
masons of  Rome,  commemorating,  accord- 
ing to  their  legend,  some  early  sculptors 
who  suffered  martyrdom  for  refusing  to 
make  statues  of  heathen  gods. 

Sta.  Saba  is  the  church  of  a  monastery 


418 


ROME 


on  the  Aventiiie  Hill,  uud,  it  is  believed, 
oil  the  dwelling  of  Sylviii,  mother  of  Greg- 
ory tiie  Great.  It  was  2ii'<'lj;i'jly  huilt 
about  GoU,  by  Houorius  I.,  for  a  company 
of  Greek  monks  of  the  order  of  St.  Basil. 
It  is  a  small  three-aisled  basilica,  about 
100  ft.  long,  without  trausejot.  Its  most 
marked  peculiarity  is  an  open  uarthex 
which,  as  in  numy  German  churches,  Init 
in  110  other  Roman  one,  is  carried  up 
above  the  aisles  in  three  stories,  making  a 
sort  of  cross-wing  nearly  as  high  as  the 
nave.  The  lower  story  is  su^jported  on 
square  brick  piers  which  take  the  place,  it 
is  said,  of  marble  columns  first  used.  The 
u])])er  story  is  an  open  arcaded  loggia  on 
columns  of  plain  mediaeval  form.  An  ar- 
caded cornice  of  Lombard  type  on  the 
rear  side  shows  that  this  loggia  and  uar- 
thex were  considerably  modified  by  later 
rebuildiugs.  The  main  arcades  of  the 
nave  rest  on  fourteen  somewhat  unequal 
ancient  columns,  Ionic  and  Corinthian, 
the  clerestory  windows  are  small  and 
sparse,  and  the  roof  open-timbered.  The 
rather  small  apse  is  screened  off  according 
to  the  habit  of  the  Greek  church,  by  a 
kind  of  iconostasis,  which  crosses  the  rear 
wall  of  the  nave  and  includes  the  baldac- 
chino  over  the  altar.  The  original  exe- 
dra,  or  stone  beiicli  for  the  clergy,  has 
been  removed.  The  last  bay  of  the  nave 
and  aisles  is  raised  over  the  coufessio, 
which  extends  under  the  apse  and  contains 
an  altar  decorated  with  mosaic.  Early 
mosaics,  or  substituted  paintings,  deco- 
rate the  vault  of  the  apse,  and  a  niedi;eval 
painted  frieze  crowns  the  walls  of  the 
nave.  In  the  walls  of  the  aisles  are  seen 
blind  arches,  not  answering  to  the  main 
arcades,  and  resting  on  corbels  like  the 
capitals  of  columns  built  up  in  the  wall, 
as  if  there  had  once  been  an  outer  aisle, 
since  suppressed  by  blocking  up  the  ar- 
cades. An  inscription  on  the  walls  shows 
that  Cardinal  Francesco,  of  Siena,  added 
the  open  roof  in  14:63,  and  two  small  side 
chapels  were  added  to  the  aisles  in  the  xvi 


century.  The  enclosure  of  the  monastery 
is  entered  through  an  interesting  porch, 
like  those  of  S.  Clemente,  and  Sta.  Pras- 
sede,  and  Sta.  Maria  in  Cosmediii,  which 
consists  of  a  bit  of  barrel-vaulting  under  a 
gable,  supported  on  two  antique  columns 
beiiring  lintels. 

Sta.  Sabixa,  built  on  the  site  and  per- 
haps of  the  materials  of  an  ancient  tem- 
ple, is  a  three-aisled  basilica  of  considerable 
size,  dating  from  the  iv  century.  The 
nave,  -13  ft.  wide,  50  ft.  high,  and  nearly 
100  ft.  long,  is  separated  from  the  aisles 
by  arcades  of  thirteen  arches,  carried  on 
marble  Corinthian  columns  and  support- 
ing a  wall  pierced  by  round-arched  clere- 
story windows.  The  regularity  and  work- 
manship of  the  columns  and  arcades  has 
led  Motlies  to  conclude  that  they  show  the 
liypa;thrum  of  the  original  Tem])le  of  Lib- 
erty, unaltered.  The  roof  is  open-timbered. 
There  is  no  transejit,  and  the  great  apse 
at  the  end  of  the  nave  is  flanked  by  a 
smaller  one  at  the  end  of  each  aisle.  The 
church  is  attached  to  a  Dominican  monas- 
tery, and  the  last  three  bays  are  according- 
ly raised  to  form  a  great  choir,  with  stejJS 
crossing  the  whole  church,  while  a  stair- 
way leads  down  in  the  middle  to  the  cou- 
fessio beneath  it.  The  narthex  across  the 
front,  lined  with  detached  columns  sup- 
porting cross-arches,  is  a  ruder  structure, 
perhajis  of  the  IX  century.  It  is  some- 
what transformed  by  later  changes,  and 
the  present  entrance  is  on  the  right  (east) 
side,  under  a  portico  of  columns.  Two  or 
three  modern  domed  chapels  open  from 
the  right  aisle,  and  one  on  the  left,  the 
Chapel  of  St.  Catherine,  is  lined  with  mar- 
ble. The  church  was  built,  or  adapted, 
under  Celestine  I.,  about  i2'>,  by  a  jjriest, 
Peter  the  Illyrian,  whose  name  is  recorded 
in  an  early  mosaic  on  the  wall  over  the 
door.  It  was  restored  by  Adrian  I.  and 
Eugenius  II..  and  considerably  modern- 
ized in  1585-90,  by  Sixtus  V.  Ilonorius 
III.  (1216-27)  gave  the  church  and  ad- 
joining  i^alace   to   the   Dominicans,    who 


419 


ROME 


turned  the  wliole  into  a  iimnastery  ;  but 
it  is  not  likely  that  they  i>uiit  the  cloister 
wiiieh  connects  with  tiie  church  on  the 
west,  for  it  is  of  rude  architecture  and 
evidently  too  early  in  date.  It  is,  liow- 
ever,  of  interest,  for  it  shows  a  kind  of 
Lombard  ilesign  rare  in  Rome,  having 
broad  arches  carried  on  square  piers,  and 
divided  and  sul)dividcd  by  sub-arches  rest- 
ing on  coliunus  alternately  single  and 
coupleil. 

S.  Sebastiano  From  le  ^Iiua.  an 
ancient  Ciiristiun  basilica  on  the  Via  Ap- 
pia,  two  miles  beyond  the  Porta  8.  Se- 
bastiano.  reported  to  have  been  built  in 
the  IV  cent.,  but  restored  in  129G,  and 
practically  rei)uilt  in  Kill  by  the  Cardinal 
Scipio  Borghese,  under  the  direction  of 
Flaminio  I'onzio.  The  church  consists  of 
a  nave  without  aisles  covered  by  a  wood- 
en ceiling,  no  transept,  and  square  choir. 
Tills  choir  is  covered  by  a  dome  belong- 
ing to  the  restoration  of  1396,  and  under 
the  nave  is  a  groined  crypt.  The  fa9ade 
is  of  two  orders,  coupled  Ionic  columns 
below  with  arches  between,  and  Doric 
pilasters  above  enclosing  square  -  headed 
windows.  A  low  pediment  covers  the 
whole  front.  From  a  door  in  the  wall  of 
the  nave  a  narrow  stair  descends  to  the 
extensive  ancient  cemeteries  close  to  the 
Catacombs  of  St.  Calixtus. 

S.  SiLVESTKO  IX  Cai'ITE  is  a  small 
basilira  built  by  I'aul  I.  in  the  viii  cen- 
tury. It  has  a  nave  in  four  bays  with 
piers  and  arcades,  covered  with  a  late 
barrel-vault,  a  small  transept,  and  apse. 
The  aisles  have  been  divided  into  chapels. 
The  lines  of  the  atrium  are  preserved  and 
also  the  original  bell-tower.  The  church 
was  restored  and  much  altered  in  lOltO  by 
Giovanni  di  Rossi,  who  added  the  present 
fa9ade.  It  takes  its  name  from  the  head 
of  St.  .John,  which  is  here  preserved,  it  is 
said. 

Sta.  Sii.\ia.     See  S.  Gregorio  Mar/no. 

S.  Si'iKiTO  IN  Sassia.  This  church  is 
attached  to  the  hospital  of  the  same  name. 


the  largest  in  Rome,  founded  in  1  U)S  by 
Innocent  III.  on  the  site  of  an  older  one 
dating  from  717,  and  built,  it  is  said,  by 
Ina,  king  of  the  Saxons,  whence  the  name 
of  the  church.  The  hosjiital,  destroyed 
by  tire,  was  rebuilt  after  11:71  by  Sixtus 
IV.,  from  the  designs  of  Baccio  Pintelli, 
who  also  built  the  church  at  nearly  the 
same  time.  Tlie  church  is  a  rectangle 
about  US  ft.  wide  and  I'Ki  ft.  long.  Its 
nave,  about  40  ft.  wide  and  110  ft.  long, 
is  flanked  by  five  .semicircular  (diapels  on 
each  side,  and  terminates  in  a  square 
choir  with  a  semicircular  tribune.  The 
fa9ade  is  in  two  stages,  each  with  an  order 
of  Corinthian  pilasters,  of  five  bays  in  the 
lower  story,  narrowing  to  three  in  the 
upper  ;  the  latter  crowned  by  a  pediment 
and  flanked  by  consoles.  In  the  middle 
interval  below  is  a  doorway,  in  that  above 
a  round  window  ;  the  other  intervals  con- 
tain niches.  At  the  rear  of  the  church 
rises  a  square  campanile  terminating  in 
two  stories  of  pilasters,  with  two  intervals 
in  each  face,  each  interval  including  two 
stories  of  two-light  windows  uniU'i'  ;i 
round  bearing-arch.  The  hospital,  which 
is  of  vast  extent,  including  several  courts, 
and  with  a  fayade  400  ft.  in  length,  is 
separated  from  the  church  by  the  jialace 
of  its  governor,  which  has  a  frontage  of 
something  more  than  1.")"  ft.  contiguous 
to  that  of  the  church,  and  of  which  the 
buildings  enclose  a  square  court  with  two 
stories  of  light  open  arcades,  the  lower 
vaulted,  the  upper  with  a  Hat  wood  ceil- 
ing. 

S.  Stefaxo  Roton'do  is  a  singular 
round  church  of  the  v  century.  At  pres- 
ent it  is  a  circular  building  of  about  140 
ft.  diameter,  consisting  of  a  central  ro- 
tuiula  of  70  ft.  clear  width,  surrounded 
by  an  aisle  of  30  ft.  The  wall  of  the 
rotunda,  75  ft.  high,  is  carried  on  a  cinde 
of  twenty  Ionic  columns  22  ft.  high,  and 
two  piers.  These  carry  a  horizontal  entab- 
lature with  relieving  arches  over  the  in- 
tercolumniations.     Above   is  a  clerestory 


4ao 


ROME 


of  round-arched  windows,  and  a  low  coni- 
cal roof.  The  aisle  was  once  an  open 
arcade  with  an  outer  circuit  beyond  it ; 
but  tJie  outer  circuit  has  mostly  disap- 
peared, and  the  inner  is  walled  up.  The 
arcade,  of  forty-four  arches,  was  divided 
by  eight  piers  into  as  many  groups  of 


Fig.  202.— Rome,  S.  Stefano  Rotondo. 

alternately  tive  and  six  arches.  The 
smaller  groups,  corresponding  to  the  car- 
dinal points,  have  higher  arches  carried 
on  Corinthian  columns,  the  intermediate 
ones  lower,  on  Ionic  columns.  In  this 
arcade  all  the  columns  carry  stilt-blocks, 
those  on  the  Corinthian  capitals  marked 
with  a  cross.  The  eastern  group  of  arches 
has  been  left  open,  giving  entrance  to  a 
chancel  jjrovided  with  a  small  apse,  mark- 
ing the  main  axis  of  the  church,  and 
flanked  on  each  side  by  one  or  two  mod- 
ern chapels,  which  follow  the  lines  of  the 
old  outer  aisle.  Across  this  main  axis, 
in  the  middle  of  the  church,  a  later  wall 
has  been  carried,  spanning  the  rotunda, 
as  if  to  strengthen  the  failing  construc- 
tion, resting  on  arches  borne  by  two  high 
Corinthian  columns  and  by  two  of  the 
piers  above  mentioned,  which  rei^lace  or 
enclo.se  two  of  the  columns.  The  present 
entrance  is  oblique,  on  the  north  side  of 
the  afise,  under  an  open  porch  with  four 
free-standing  columns.  Some  early  mo- 
saics still  remain  in  the  apse,  and  the 
walls  are  painted  with  scenes  of  Christian 
martyrdom  before  the  time  of  Julian  the 
Apostate,  by  Pomeranzio,  in  the  xvii  cen- 


tury. The  original  plan  of  the  church 
is  somewhat  obscure ;  but  according  to 
Iliibsch's  restoration  tiio  outer  circuit  was 
divided  by  four  radiating  arms  corre- 
sponding to  the  one  which  remains,  with 
its  apse,  and  forming  a  kind  of  cross. 
These  were  connected  by  four  segments  of 
a  narrower  aisle,  corresponding  to  the 
four  groujjs  of  five  smaller  arches,  and 
the  space  filled  out  to  the  circumference 
of  the  arms  of  the  cross  by  a  ring  of  four 
narrow  courts,  walled  in  but  not  roofed 
(see  ^j/ff«,  Fig.  202).  The  church  was 
built  by  Pope  Simplicius,  and  consecrated 
in  408  ;  the  irregularity  of  the  materials 
and  the  roughness  of  the  work  correspond 
with  this  date.  It  was  repaired  by  John 
I.  and  his  successor,  Felix  \Y..  who  lined 
it  with  mosaics  and  marbles  that  have  all 
but  disappeared.  The  cross-wall  which 
stays  the  roof  is  ascribed  to  Adrian  I. 
(772-91);  and  Nicholas  \".  (1447-55)  find- 
ing the  church  too  dilapidated  for  his  i"e- 
storing.  walled  in  the  inner  aisle  and  left 
the  outer  jjarts  to  crumble.  Tlie  singular- 
ity of  its  plan  has  led  some  authorities  to 
believe  that  it  could  not  have  been  origi- 
nally a  church  ;  and  it  has  been  assumed 
to  contain  the  remains,  or  at  least  the 
foundations,  of  the  Macellum  Magnum  or 
great  market  of  Nero  ;  Ijut  the  construc- 
tion, even  of  the  foundations,  is  incom- 
patible with  such  a  theory. 

Sta.  SusANsr.i,  an  early  church,  men- 
tioned as  long  ago  as  the  iv  cent.,  and 
altogether  rebuilt  in  the  first  years  of  the 
XVII  cent.,  by  Carlo  Maderno.  It  is  a 
cruciform  church  witiiout  aisles,  and  owes 
to  him  the  rich  and  heavily  panelled  flat 
ceiling  of  the  nave,  as  well  as  the  facade. 
This  last  is  the  earliest  work  of  Maderno, 
and  marks  the  beginning  of  the  baroco 
style  in  Italy,  though  it  is  far  soberer  than 
the  buildings  in  that  style  that  followed 
it.  It  simulates  rather  than  follows  the 
outline  of  the  nave  and  aisles,  and  has  an 
order  of  Corinthian  columns  in  the  lower 
story  enclosing  niches,  and  in  the  centre 


421 


ROME 


a  large  doorway  uuder  a  pediment.  In 
the  second  story,  flanked  by  scroll-but- 
tresses, is  an  order  of  pilasters,  likewise 
Corinthian,  with  a  great  central  niche 
under  a  sub-order,  and  flanked  by  two 
lesser  ones,  the  whole  surmounted  by  a 
broken  pediment  and  raking  balustrade. 

Sta.  Tkin'ITA  DEI  MoXTi,  a  familiar 
church  by  Domeuieo  Foutana,  occupying 
a  conspicuous  site  at  the  head  of  the  !Si)an- 
i.sh  steps,  so-called.  Its  history  is  obscure. 
Tiiere  is  a  tradition  that  it  was  founded  by 
Charles  VIII.  of  France  in  14U4.  The 
f!i(;ade  is  ascribed  to  Fontana,  though  one 
of  the  towers  bears  the  inscribed  date  loTO, 
when  he  was  but  twenty-seven  years  old. 
The  interior  was  apparently  older,  and 
the  transept  still  shows  pointed  arches. 
After  the  failure  of  a  portion  of  the  vault- 
ing toward  the  end  of  the  xviii  cent.,  it 
was  restored  about  181G  by  a  French  arch- 
itect, Mazois.  It  is  a  cruciform  church, 
with  a  nave  separated  by  four  piers  on  each 
side  from  a  range  of  connected  chapels 
occupying  the  place  of  aisles,  and  a  square 
choir.  The  fa9ade  is  narrow  and  high,  in 
tliree  divisions  with  an  order  of  Corinthian 
pilasters,  the  central  interval  occupied  by 
a  doorway,  the  side  divisions  sliglitly  ad- 
vanced and  crowned  by  two  similar  towers, 
with  square  open  belfries  capped  by  oc- 
tagonal lanterns.  At  the  left  side  of  the 
church  is  a  convent,  of  which  the  build- 
ings enclose  a  square  cloister  surmunded 
by  a  vaulted  arcade. 

Sta.  TiuxiTA  DEI  Pellegkixi.  A 
church  and  hospital,  the  latter  founded  in 
1.J4.S  by  S.  Filijipo  Xeri.  the  former  built 
about  IGl-i  from  tlie  designs  of  Paolo  Mag- 
gi  ;  the  faQade  added  a  century  later  by 
Francesco  de'  Sanctis.  The  whole  plan 
covers  an  area  of  about  21.")  ft.  by  200  ft.,  of 
which  the  church  occupies  one  angle.  It 
is  interesting  for  its  skilful  and  effective 
disposition  of  parts,  and  includes  some  fine 
;ipartments.  The  ciiurch  is  a  rectangle 
of  about  G-t  ft.  by  140  ft.,  divided  into  a 
short  nave  flanked  by  three  rectangular 


chapels  on  each  side,  opening  by  arches  in 
the  intervals  of  an  order  of  pilasters,  a 
short  transept,  and  a  choir  consisting  of  a 
short  rectangular  bay  with  a  semicircular 
tribune.  The  crossing  is  bouiuled  by  four 
great  arches  springing  from  detached  col- 
umns, and  is  covered  by  a  dome. 

SS.     ViXCEXZO    ED    AXASTASIO,    Called 

also  S.  Yinceuzo  alle  Tre  Fontaue,  is  a 
basilica  of  the  vii  cent.,  rebuilt  at  the  end 
of  the  VIII,  and  retaining  in  the  main  its 
form  of  that  date.  It  is  about  23.5  ft. 
long,  and  100  ft.  across  the  transept,  with 
a  nave  of  brick,  and  aisles,  transept,  and 
chancel  alternately  coursed  in  Ijrick  and 
tufa.  Across  the  front  is  an  open  porch 
like  that  of  S.  Lorenzo  fuori  {q.  v.).  with 
four  wide-spaced  granite  Ionic  columns 
in  front,  supporting  an  architrave  pro- 
tected by  flat  relieving  arches.  The  clere- 
story walls  have  flat  pilaster-strijis  and  a 
brick  cornice  with  small  marble  modil- 
lious.  Within,  the  nave,  138  ft.  long,  is 
bordered  by  heavy  piers  4^  ft.  square, 
carrying  nine  round  arches,  of  which  the 
two  nearest  the  entrance  are  walled  up. 
The  roof  is  open-timbered,  and  on  the 
piers  are  painted  the  twelve  apostles  from 
Raphael's  designs,  disfigured  by  restora- 
tions. The  aisles,  which,  like  the  tran- 
sept and  square-ended  chancel,  are  later 
than  the  nave,  are  vaulted  ;  the  transept 
does  not  cross  the  nave,  but  is  lower,  aiul 
its  arms  open  through  arches  larger  than 
those  of  the  main  arcades.  The  high 
clerestory  wall,  above  the  low  arcades  of 
only  20  ft.  high,  is  pierced  with  small 
round-headed  windows,  many  of  wliieh 
retain  their  old  filling  of  perforated 
marble  slabs.  The  arms  of  the  transept 
have  each  beside  the  chancel  two  square 
chapels  of  later  date.  The  church  was 
founded  by  llonorius  I.,  in  G2I).  restored 
by  Adrian  I.,  in  773,  and  reiniilt  "a 
fundamentis  "  in  79li.  by  Leo  III.  The 
jiortico  inscrilx'd  with  the  date  1140  be- 
longs to  the  administration  of  Innocent 
II.,  who  built  or  reorganized  the  adjoining 


KOME 


monastery  for  the  Cistercians  uiulor  8t. 
Hcrutird.  Since  1868  the  wlmle,  with  the 
two  adjoining  chnrclies  (see  S.  Paalo 
alle  Trc  Funtane  and  Sta.  Maria  ScnJn 
Celi),  lias  heen  in  the  jjossession  of  tlie 
Frencli  Trappists.  Two  aisles  of  the 
adjoining  cloister  remain,  rather  rudely 
built,  with  groups  of  four  sub-arches  un- 
der enclosing  arches  carried  on  marble 
columns  with  bracket  caps. 

The  Sapiexza,  the  great  University  of 
Rome,  was  founded  as  early  as  the  mid- 
dle of  the  XIII  cent.,  under  Innocent  I\'., 
for  the  study  of  the  canon  and  civil  law. 
It  was  greatly  enlarged,  both  as  to  its  build- 
ings and  the  scope  of  its  teaching,  under 
successive  jiopes,  but  the  present  Iniild- 
ings,  not  begun  until  the  beginning  of  the 
XVI  cent.,  were  finished  as  late  as  Ib'iG. 
under  the  direction  of  Giacomo  della 
Porta.  Their  plan  is  a  rectangle,  measur- 
ing nearly  180  ft.  in  breadth  by  3G5  ft. 
in  depth,  with  a  long  court  in  the  centre, 
entered  directly  from  the  central  doorway 
of  the  i^rincipal  fai/ade,  and  flanked  by 
corridors  which  give  access  to  the  various 
halls  of  the  University.  The  majestic 
front,  of  extraordinary  simplicity,  is  di- 
vided by  string-courses  into  three  stories, 
of  which  the  lower  is  almost  unbroken  ex- 
cept by  the  central  pedimented  door,  and 
tlie  others  have  a  group  of  windows  in  the 
middle.  Two  narrow  bays  like  pavilions 
are  marked  off  at  the  ends  by  quoins,  and 
a  modillioned  cornice  crowns  the  whole. 
The  great  court,  which  measures  about 
6.5  ft.  by  156  ft.,  is  surrounded  on  three 
sides  by  two  stories  of  very  simple  vaulted 
arcades  faced  by  orders  of  pilasters,  Doric 
below  and  Ionic  above,  with  a  third  story 
of  flat  wall  divided  into  panels,  each  with 
a  square  window  with  moulded  architraves 
and  smaller  horizontal  panels  above  each, 
with  a  roundel  containing  a  lion's  head. 
At  the  extremity  of  the  great  court  is  a 
cliurch  dedicated  to  San  Ivo,  built  from 
the  designs  of  Borromini,  with  a  fantastic 
plan  composed  of  a  triangle  whose  sides 


are  liroken  by  semicircular  niches,  and 
surrounded  by  an  irregular  cluster  of 
ciiapels.  It  has  a  concave  front  toward 
the  court,  above  which  rises  a  dome  on  a 
drum  of  broken  outline,  and  at  the  toj)  an 
absurd  spiral  lantern. 

The  Sc.\L.A  Santa  (Holy  Staircase), 
consisting  of  tw-enty-cight  marble  steps 
about  12  ft.  broiid,  brought  from  Jeru- 
salem by  the  empress  Helena  in  326,  and 
asserted  to  be  those  of  Pilate's  palace — is 
enclosed  in  a  building  erected  by  Leo  III., 
and  rebuilt  with  additions  by  Sixtus  V., 
about  1585,  from  the  designs  of  Domeuico 
Fontana.  It  is  flanked  by  two  straight 
staircases  on  each  side,  separated  by  solid 
walls,  with  a  portico  of  five  arches  in 
front.  At  the  head  of  the  stairs  is  a  log- 
gia from  which  opens  the  Saucta  Sancto- 
rum, so  called,  a  Gothic  chapel  of  small 
size,  which  forms  the  only  portion  now 
remaining  of  the  ancient  papal  palace  of 
the  Lateran.  The  fa9ade  has  a  length  of 
about  96  ft.,  and,  as  built  from  Fontana's 
designs,  consisted  of  two  stories  of  open 
arcades,  faced  with  Doric  and  Corinthian 
pilasters.  Of  these  only  the  lower  re- 
mains, the  upper  having  been  replaced 
during  the  reign  of  Pius  IX.,  by  a  flat 
wall  witli  an  order  of  Ionic  pilasters,  with 
pedimented  windows  in  the  intervals. 

Septizoxium.  See  Palace  of  the  Cce- 
sars. 

Sessoiuan  Basilica.  See  ,Sta.  Croce 
in  Gerusalcinmc. 

SiSTiNE  Chapel.     See  Vatican. 

Tabi-laril'ji,  the  seat  of  the  state 
archives,  and  of  those  concerning  the 
public  treasury.  It  faced  the  Forum,  in 
the  immediate  neighborhood  of  the  tem- 
ple of  Saturn,  where  tlie  treasury  was 
established,  and  has  left  considerable  re- 
mains. An  inscription  shows  that  tlie 
existing  edifice  was  built  by  the  consul  Q. 
Lutatius  Catulus,  in  78  B.C.  The  massive 
walls  at  the  back  are  of  jDej^erino  on  the 
outside  and  tufa  within  ;  opjjosite  them 
stands  a  range  of  arcades  with  heavy  piers 


423 


ROME 


of  peperiuo.  ornamented  on  tlie  side  tow- 
ard the  forum  with  fluted  Doric;  seiiii- 
cohinma  whose  capitals  are  of  travertine, 
and  opening  on  a  series  of  vaults.  Ui)on 
this  substructure  stood  a  double  arcade 
with  Doric  and  Ionic  columns  ;  the  lower 
rauge  formed  a  public  passage,  and  inside 
of  it  a  series  of  rooms  was  grouped  alxjut 
a  court.  The  rpiadruple  series  of  vaulted 
chambers  behind  the  arcades  of  the  faQade 
was  in  jiart  walled  up  by  Michael  Angclo 
in  the  coustruetiou  of  foundations  for  the 
Palace  of  the  Senator,  and  these  vaults 
were  used  under  Nicholas  V.  as  a  store- 
house for  salt.  The  arcaded  portico 
formed  an  architectural  connection  be- 
tween the  two  parts  of  the  Cajiitoline  Hill. 
The  length  of  the  substructure  is  233  ft., 
its  height  49  ft.  The  portico  now  serves 
as  a  museum  for  architectural  fragments, 
especially  from  the  temples  of  the  Forum. 
A  steeji  ancient  stair  of  sixty-seven  stejis 
leads  from  the  outside  of  the  building, 
at  its  lowest  level  toward  the  Forum,  to 
the  large  hall  which  faced  on  the  back. 

Tempi  ETTO.    See  *S'.  Pietro  in  Moidorio. 

Temple  of  Antoninus  and  Faustin.\, 
fronting  on  the  north  side  of  the  Forum 
Romanum,  opposite  the  House  of  the 
Vestal  Virgins.  It  is  the  best  preserved 
temple  on  the  Fornm.  The  cella,  still 
surviving  in  great  2)art,  was  in  the  xvii 
cent,  converted  into  a  church  under  the 
invocation  of  San  Lorenzo  in  Miranda. 
The  ancient  prostyle  j)ortico  of  six  col- 
umns, with  two  intervening  on  each  flank 
before  the  auta?,  still  exists  ;  the  columns, 
4(J  ft.  high,  are  unfluted,  of  beautiful 
cipollino  marble,  with  handsome  Corin- 
thian capitals  of  white  marble.  Tlie 
architrave  bears  the  ancient  dedicatory  in- 
scription. The  frieze  of  the  long  sides  is 
sculptured  with  rich  candelabra  and  vases 
between  advancing  griffins.  On  the  east 
side  almost  the  entire  frieze  is  in  place, 
with  portions  of  the  ornate  cornice.  The 
temple  measured  in  plan  72  ft.  by  120  ft., 
and  was  raised  on  a  basement  IG  ft.  high. 


Tempi. !•:  of  Aucjustl'.s,  discovered  in 
1890  in  the  Via  Tordinona.  Portions  of 
the  foundations  and  stylobate  show  that  it 
was  cirt'ular,  and  preserve  the  marks  of 
the  column  -  bases.  The  entablature  is 
Corinthian,  and  the  cornice  has  lion-head 
water-spouts.  The  capitals,  of  Corinthian 
outline,  are  peculiar  ;  they  represent  a 
])anther-skin  wrapped  about  the  echinus, 
with  the  paws  projecting  at  the  angles. 
The  temple  was  preceded  by  a  portico  of 
horseshoe  form.  Another  temple  of  Au- 
gustus, founded  by  Tiberius  and  completed 
by  Caligula,  has  been  conjectu rally  iden- 
tified with  ruins  behind  the  temple  of 
Castor  and  Pollux. 

Temple  op  Castor  and  Pollux,  near 
the  eastern  end  of  the  Forum  Romanum. 
adjoining  the  Basilica  Julia.  Only  three 
tine  Corinthian  columns  of  the  peristyle 
remain  standing,  with  part  of  their  en- 
tablature ;  these  belong  to  the  western 
long  side,  and  are  46  ft.  high.  Some  por- 
tions of  the  cella  walls  remain,  and  part 
of  the  careful  black  and  white  mosaic  of 
the  cella  floor.  The  basement  of  the 
temjjle  is  24|  ft.  high  and  98  ft.  wide  ;  it 
was  approached  from  the  side  of  the 
Forum  by  a  large  triple  flight  of  steps. 
The  columns  Ijelong  to  the  emliellishment 
executed  under  Tiberius  ;  the  interior 
jiortions  of  the  temple  to  the  old  Repub- 
lican sanctuary,  whose  original  founda- 
tion goes  Ijack  to  the  battle  of  Lake 
Regillus,  in  490  H.c  The  tenn)le  was 
peripteral,  octastyle,  with  eleven  columns 
on  the  flanks. 

Temple  of  Concord,  occupying  tlie 
N.  W.  angle  of  the  Forum  Romanum.  It 
a]ipears  to  have  been  founded  by  Camillus, 
in  3(J7  B.C.,  in  honor  of  the  reconciliation 
of  j'li-tricians  and  plebeians.  Under  Au- 
gustus the  structure,  whic'h  had  become 
decrepit,  was  rebuilt  in  the  Corinthian 
style.  The  building  consisted  of  two 
parts  :  that  iu  front,  forming  the  temple 
proper,  was  83i  ft.  wide  aud  47|  ft.  deep  : 
that  behind,  which  served  as  the  Senate- 


ROME 


house,  was  l-i;i  ft.  wide  and  I'.i  I't.  dccii. 
It  stood  iijiou  a  massive  basement;  the 
front  part,  wliieli  liad  six  columns  on  the 
fa9ade  and  four  on  each  flank,  was  pre- 
ceded by  a  monumental  flight  of  steps. 
The  interior  of  the  cella  had  ranges  of 
columus  along  the  walls,  on  a  raised  stylo- 
bate.  The  Senate-house  was  ornameuted 
with  paintings  and  statues.  The  founda- 
tions survive,  together  with  many  frag- 
ments of  the  rich  architectural  decoration, 
which  is  among  the  finest  in  Rome  and 
evidently  of  Greek  workmanship. 

Temple  of  Deus  REDicuLrs  (the  god 
of  turning  back),  a  short  distance  outside 
of  the  Porta  San  Sebastiano  (the  ancient 
Porta  Capena),  so-called  from  the  legend 
that  Hannibal,  alarmed  by  visions,  turned 
back  here  from  his  advance  upon  the 
city.  The  structure,  however,  is  not  a 
temple,  but  a  funeral  monument  in  the 
form  of  a  jisendo-perij^teral  temple  with 
Corinthian  pilasters,  built  of  red  and  yel- 
low brick.  The  walls  are  divided  by  two 
bands  of  meander  in  baked  tiles ;  the 
technirpie  of  the  brickwork  and  ormiment 
is  excellent.  The  interior  consists  of  two 
stories  with  groined  vaulting,  the  lower 
arranged  to  receive  the  burial  urns  and 
the  upper  as  a  chapel.  There  is  ground 
for  believing  this  to  be  the  tomb  of  the 
celebrated  Herodes  Atticus,  of  his  wife 
Annia  Regilla,  and  of  their  children. 

Temple  of  Faustixa.  See  TcmpU  of 
Antiininus  and  Faitdiiia. 

Temple  of  Fortuxa  Vikilis,  so-called, 
now  the  Armenian  Catholic  church  of 
Sta.  Maria  Egiziaca.  It  is  Ionic,  tetra- 
style,  pseudo-peripteral,  with  seven  col- 
umns on  the  flanks,  and  is  one  of  the 
most  perfect  monuments  of  ancient  Rome 
remaining.  The  four  columns  of  the 
front  portico,  with  one  on  each  flank,  orig- 
inally stood  free,  but  the  intercolumnia- 
tions  were  walled  up  when  the  temple  was 
converted  into  a  church.  The  entablature 
remains  perfect  on  the  west  side.  The 
frieze    was    carved    with    bucrauia    and 


graceful  festoons,  and  tlie  cornice  orna- 
mented with  ilentiis,  the  egg-and-dart 
moulding,  and  a  cyma  bearing  acanthus 
sprays  and  lion-head  waterspouts.  The 
cella  and  tlie  high  moulded  basement  are 
built  of  tufa,  originally  coated  with  stuc- 
co ;  the  decorative  parts  are  of  travertine. 
It  is  probably  the  temple  of  Fortuna, 
without  any  epithet,  or  else  that  of  Mater 
Matuta,  both  built  by  Servius  on  the 
Forum  Boarium.  The  temple  measures 
36  ft.  by  02  ft.  ;  the  height  of  the  col- 
umns is  27  ft. 

Temple  of  LIadiuax,  so-called,  though 
by  some  scholars  the  monument  is 
thought  to  be  the  Basilica  of  Neptune,  or 
Portico  of  the  Argonauts,  built  by  Agrip- 
jja  in  commemoration  of  his  naval  suc- 
cesses in  20  B.C.  If  the  flrst  attribution 
is  correct,  and  it  seems  confirmed  by  the 
style,  it  was  built  by  Antoninus  Pius. 
Eleven  great  Corinthian  columns  49  ft. 
high,  of  Carrara  marble,  remain  with  their 
entablature  in  the  Piazza  Pietra,  before  the 
Camera  del  Commercio,  forming  part  of 
the  north  portico  of  the  aiicient  structure, 
which  was  a  jjeripteros  of  eight  columns 
by  fifteen,  on  a  high  basement.  The  inter- 
columniations  were  walled  up  by  Innocent 
XII.,  in  1695,  to  obviate  impending  ruin. 
A  portion  of  the  barrel-vault  of  the  cella, 
ornamented  with  coffers,  remains  in  the 
interior. 

Temple  of  Hercules,  the  identifica- 
tion at  present  best  authorized  for  the 
beautiful  columnar  circular  monument  on 
the  ancient  Forum  Boarium.  long  familiar 
as  the  Temple  of  Vesta  (y.  r.).  From  its 
marble  stylobate  rise  nineteen  of  the  orig- 
inal twenty  slender,  well  -  proportioned 
Corinthian  peristyle  columns  of  Parian 
marble.  The  shafts  are  about  26  ft.  high, 
and  the  capitals  apjjcar  to  date  from  about 
the  time  of  Sulla.  The  entablature  and 
the  ceiling  between  it  and  the  surviving 
cella  wall  are  gone  ;  the  existing  conical 
roof  rests  directly  on  the  columns.  The 
diameter  of  the  cella  is  33  ft.  :  the  door 


425 


ROxME 


was  oil  the  east  side,  and  was  Hanked  liy 
windows.  Tlie  temple  was  at  an  rally 
date  dedicated  as  a  church,  at  first  to  S. 
Stefano,  and  later  to  Sta.  Maria  del  Sole, 
wliich  latter  attribution  it  ])reserves. 

Trmple  of  Julius  G.esak  (Aedes  Divi 
Julii),  at  the  eastern  end  of  the  Forum 
liomanum,  a  prostyle  pycnostyle  structure 
on  a  very  high  basement,  dedicated  liy 
Augustus  on  the  site  of  CtBsar's  funeral 
pyre.  It  was  the  earliest  temple  in  Home 
dedicated  to  a  mortal.  At  the  Forum  end 
was  the  orator's  platform  (Rostra  Julia) 
of  C'lusar  and  Augustus,  whose  plan  shows 
a  large  semicircular  recess  in  the  middle  ; 
the  front  of  this  platform  bore  the  beaks 
of  the  ships  taken  at  Autium.  The  re- 
mains are  scanty,  yet  sufficient  to  supply 
a  complete  plan.  Between  this  temple 
and  that  of  Castor  and  Pollux  rose  the 
Arch  of  Augustus,  now  gone  except  parts 
of  the  foundations. 

Temple  of  Juno  Sospita.  See  Trm- 
plc  of  iSpes. 

Teiiplf:  of  Jupiter  Capitolinus,  a 
famous  sanctuary,  now  almost  wholly  de- 
stroyed. It  occupied  the  western  summit 
of  the  Caiiitoline  Hill,  and  is  described  as 
aliout  200  ft.  square.  It  had  throe  ranges 
of  widely  spaced  columns  in  front,  on  a 
high  raised  basement,  and  three  cellas  side 
by  side,  dedicated  to  Jupiter,  Juno,  and 
Minerva.  In  both  plan  and  details  it  was 
much  more  Etruscan  than  Roman.  It 
was  founded  by  Taniuinius  I.,  but  dedi- 
cated iMily  ill  .■)(i'.i  11. 1'.,  after  the  expulsion 
of  Tar(piinius  Superhus.  In  the  course 
of  later  restorations,  the  last  one  by  Do- 
niitiiin.  it  was  lengthened,  and  perhaps 
made  narrower;  the  portions  of  the  foun- 
dations remaining  show  the  width  to  have 
been  183  ft.,  and  the  length  somewhat 
greater.  Tiie  greater  jiart  of  the  site  is  at 
present  covered  by  the  CalVarelli  palace 
and  gardens. 

Temple  ok  Jupitek  Statok,  beside  the 
ancient  I'orta  .Miigonia.  It  has  been  con- 
jecturally  identified  with  the  remains  of  a 


large  platfcn'm  in  concrete  close  to  the 
su])iiosed  ])osition  of  the  Porta  Mugonia. 
Another  great  temple  under  the  same  in- 
vocation stood  beside  that  of  Juno  Regina 
within  the  Portico  of  Octavia.  (See  Por- 
firo  (if  ()ct((via.) 

Temple  of  Mars  Ultor  (the  Aven- 
ger), ill  the  Forum  of  Augustus.  It  was 
founded  by  Augustus  in  fulfilment  of  a 
vow  made  at  the  battle  of  Philippi,  and 
was  dedicated  in  2  B.C.  It  ranked  as  one 
of  the  most  splendid  temples  in  Rome, 
and  was  adorned  with  works  of  art  and 
military  trophies.  Three  of  the  fine  Co- 
rinthian peristyle  columns  are  still  stand- 
ing, with  a  pilaster  and  part  of  the  cella 
wall.  The  columns  are  59  ft.  high  and  5|- 
f  t.  ill  lower  diameter.  These  belong  to  the 
eastern  long  side.  The  coffered  ceiling 
between  the  columns  and  the  cella  wall 
is  of  excellent  design.  Toward  the  close 
of  the  V  cent,  the  church  of  S.  Basilio 
was  built  among  the  ruins  of  the  teniiile, 
and  until  1820  its  campanile  rested  on  the 
surviving  columns.  The  temple  was  octa- 
style,  with  porticoes  on  three  sides  only  ; 
at  the  back  it  had  an  apse  and  was  built 
against  the  massive  end  wall  of  the  Forum. 

Temple  of  Mixekva.  Sec  Forum 
liiiiiKunim. 

Temple  of  Minerva  Medica,  so 
called  from  the  discovery  here  of  the  well- 
known  statue  of  Minerva  Medica,  in  real- 
ity an  elaborate  structure  for  the  reception 
and  distribution  of  wafer.  It  may  be  the 
monument  known  in  antii|uity  as  the 
NymphaMiin  of  Alexaiuler.  It  is  one  of 
the  most  important  domical  structures 
that  have  come  down  from  ancient  times, 
and  from  its  masonry  and  style  is  assign- 
able to  the  III  century.  Unfortunately,  a 
jiart  of  the  wall  and  dome  of  the  central 
building  fell  in  1828  and  1808.  The  plan 
is  a  decagon  with  ten  large  interior  niches, 
the  diameter  82  ft.,  and  the  height  of 
the  dome  108  ft.  The  walls  are  pierced 
in  the  upper  jiart  with  a  number  of  well- 
proportioned  round-headed  windows.   The 


EOME 


monument  liai.y  originally  a  semicircular 
wing  on  each  side  of  the  central  rotunda, 
and  was  jireceded  by  a  vestibule  with  col- 
umns. 

TEirPLE  OF  Neptuxe,  or  Poseidoneum, 
on  the  Campus  Martins,  identified  with 
strong  j)robability  in  the  remains  of  a 
Ijeripteral  temple  recognized  in  the  build- 
ings of  the  Dogana  di  Terra  or  Dogana 
Vecchia.  There  are  still  standing  eleven 
Corinthian  columns  of  Luna  (Carrara) 
marble,  with  their  entablature,  a  large  jiiece 
of  one  side  of  the  cella,  and  a  small  piece 
of  one  end.  The  ceiling  of  the  pteroma 
consists  of  a  barrel-vault  of  concrete,  orig- 
inally adorned  with  reliefs  in  stucco. 
Palladio  gives  a  plan  of  this  temple  as 
hexastyle  with  fifteen  columns  on  the 
flanks.  Excavations  made  in  1878  dis- 
closed remains  of  porticoes  forming  an 
enclosure  about  330  ft.  square  about  this 
temple.  This  is  plausibly  held  to  be 
the  Porticus  Xeptuni  built  by  Agrippa. 
In  the  basemeut  of  the  temjile  w-ere  set 
thirty-six  reliefs  representing  the  prov- 
inces of  the  Eoman  Empire,  separated  by 
trophies  of  the  military  equipments  char- 
acteristic of  the  several  ju'ovinces.  A 
number  of  these  reliefs  still  exist. 

Temple  of  Peace.  See  Basilica  of 
Ccinsfanfine. 

Temple  of  Romulus.  See  <S'.S'.  Cosmo 
e  Damiano. 

Temple  of  Saturx,  on  the  south  side 
of  the  Forum  Romauum,  near  its  western 
end.  A  very  ancient  altar  to  Saturn  stood 
on  this  spot,  and  was  at  an  early  date  re- 
placed by  a  temple.  This  temple  was  re- 
built under  Augustus,  and  restored  by 
Septimius  Severus,  and  finally  by  Diocle- 
tian. The  six  unfluted  Ionic  columns  of 
the  faQade  are  standing  with  their  entab- 
lature and  part  of  the  pediment,  together 
with  an  adjoining  column  on  each  flank. 
The  marble  capitals  are  of  a  debased  type 
with  four  angle-volutes  ;  the  shafts  are  of 
gray  and  red  granite.  A  part  remains  of 
the  flight  of  steps  which  gave  access  to  the 


lofty  platform  of  the  temple,  71  ft.  by  107 
ft.,  which  is  built  of  travertine  and  be- 
longs to  the  building  of  Augustus.  From 
the  early  days  of  the  Republic,  the  Tem^jlc 
of  Saturn  served  as  the  chief  public  treas- 
ury. 

Temples  of  Spes  and  Juno  Sospita, 
as  identified  with  strong  probability,  two 
of  a  group  of  three  jire-imjierial  temjjles, 
perhaps  restored  in  the  early  empire,  side 
by  side  on  the  Forum  Olitorium,  or  oil- 
market.  Considerable  renuiins  of  all 
three  are  incorporated  in  the  present 
church  of  S.  Xiccolo  in  Carcere.  The 
central  temple  was  the  largest,  and  was 
Ionic,  hexastyle,  iJeripteral,  with  a  deep 
jiortico  of  three  interior  ranges  of  columns 
before  the  cella.  One  side  of  its  cella- 
wall,  in  travertine,  and  four  columns  sur- 
vive. The  second  largest  tcnii)le  was  also 
Ionic  and  hexastyle,  and  would  have  been 
peripteral  but  for  the  extension  across  its 
side  j)orticoes  of  the  back  wall  of  the 
cella.  The  third  temple  was  considerably 
smaller ;  it  was  hexastyle,  peripteral,  and 
of  Tuscan  order.  Five  peristyle  columns 
of  the  last  temple  are  standing,  and  seven 
columns  with  some  i^ieecs  of  wall  of  the 
second.  Fragments  of  the  walls  are  vis- 
ible in  the  crypt  of  the  church,  some  of 
the  columns  apjiear  in  its  fagade,  and 
others  in  its  side  walls.  In  the  upjier  part 
of  the  church  structure  ajjpcars  some  of 
the  entablature  of  the  middle  temple, 
with  a  gracefully  sculptured  frieze.  (See 
<S'.  Xicculo  in  Curccrc.) 

Temple  of  Venu.s  axd  Rome,  on  the 
Sacred  Way,  near  the  Forum,  and  be- 
tween the  Colosseum  and  the  Basilica  of 
Constantiue.  The  temple  had  two  cellas, 
back  to  back,  the  colossal  goddess-statue 
in  each  occujjying  a  semi-domed  apse  at 
the  inner  end.  The  cella  walls  were  each 
ornamented  with  five  niches  for  statues, 
alternately  round  aiul  square,  with  side- 
columns  and  alternately  round  and  trian- 
gular ijediments.  Between  the  niches 
rose  decorative  columns  sujiporting  an  en- 


427 


ROME 


tablature  and  sculptures.  The  two  semi- 
domes  with  tlieir  diamond-shaped  lacu- 
nars of  stucco,  and  one  wall  of  each  cella, 
survive,  one  cella  being  within  the  enclos- 
ure of  the  convent  of  Sta.  Francesca  Ro- 
mana.  Before  each  cella  was  probably  a 
pronaos  of  four  columns  in  an/is.  The 
peristyle  had  ten  great  fluted  Corinthian 
columns  of  white  marble  on  each  front, 
and  twenty  on  each  flank.  The  pedi- 
ments were  filled  with  sculptures.  The 
stylobate  was  raised  on  seven  steps. 
About  the  temple  was  a  sjjacious  court 
paved  with  white  marble  and  surrounded 
with  porticoes  of  gray  granite  and  red 
porphyry  columns.  There  were  raised 
and  decorated  ])ropyUva  in  the  middle  of 
each  side.  The  court  was  ornamented 
with  monumental  columns,  flanking  the 
temjile,  which  perhaps  bore  statues  of  tiie 
empress  Sabina  and  the  emperor  Hadrian, 
the  founder  of  the  temple. 

Temple  of  Vespasian,  fdrnicrly  called 
Temple  of  Jupiter  Tonans,  in  the  Forum 
Romanum,  at  the  N.  W.  end,  built  against 
the  Tabularium.  The  three  fluted  Corin- 
thian columns  of  Carrara  marble,  with 
their  entablature,  which  formed  the  north- 
ern angle  of  the  prostyle  liexastyle  west 
front,  form  a  consjiicuous  memorial  of 
this  temple.  The  height  of  the  columns 
is  50  ft.,  their  base -diameter  over  ,">  ft. 
Tlie  richly  ornamented  entablature  was 
long  studied  as  an  ai'chitectural  model, 
and  is  effective  despite  its  excess  of  ex- 
uberance. Much  of  tlie  marble  iiavement 
of  the  cella  remains  in  place.  The  in- 
terior had  ranges  of  columns  along  tlie 
walls,  on  a  raised  stylobate.  This  temple 
was  dedicated  by  Domitian,  about  94  a.d.  . 
and  restored  by  Scptimius  Severus  and 
Caracalla. 

Tkmple  of  Vesta,  the  seat  of  the  cere- 
monial hearth  of  the  Roman  State,  at  the 
eastern  end  of  the  Forum  Unmanum. 
Only  the  substructions  of  tufa  and  rul)ble 
remain  of  this  venerable  sanctuary,  witii, 
however,  enough  an'hiteclural  fragments 


to  afford  material  for  a  complete  restora- 
tion as  the  temple  existed  in  the  iii  cen- 
tury A.I).  It  was  circular,  about  5(i  ft.  in 
diameter,  with  a  portico  of  twenty  mono- 
lithic fluted  Corinthian  columns.  This 
monument  is  not  to  be  confounded  witli 
the  familiar  circular  edifice  in  the  Piazza 
della  Bocca  della  Verita,  which  was  form- 
erly known  as  the  Temple  of  Vesta,  but  is 
now  generally  called  the  Temple  of  Her- 
cules. 

Tiieatke  of  Maucellls.  founded  l>y 
.Julius  Cajsar,  and  dedicated  by  Augustus 
in  13  B.C.  It  and  the  theatre  of  Pompey 
are  the  earliest  examples  of  the  complete 
Roman  theatre  in  masonry  with  archi- 
tectural adornment  of  the  exterior  ar- 
cades. The  outer  wall  was  solidly  built 
in  two  arcaded  stories  of  splendid  traver- 
tine masonry,  ornamented  with  engaged 
columns  and  entablatures — those  of  the 
lower  tier  Doric,  of  the  ujjper  Ionic. 
The  lower  tier  is  now  buried  to  two- 
thirds  of  its  height.  Twelve  of  its  ar- 
cades are  still  visible,  and  with  those 
above  are  now  occupied  by  modern  houses, 
wJiich  have  replaced  the  mediteval  fortress 
of  the  Pierleoni  and  Savelli.  The  stage 
was  very  deep  ;  some  part  of  the  exterior 
of  the  stage-structure  still  exists.  Ac- 
cording to  ancient  records,  this  theatre 
could  receive  thirty  thousand  spectators, 
but  from  the  existing  remains  this  is 
clearly  an  exaggeration. 

Theatre  of  Pompey,  built  by  the 
great  Pom2)ey,  and  completed  in  53  B.C. 
It  was  the  first  theatre  built  of  stone  in 
R(jme  ;  the  seats  and  architectural  adorn- 
ment of  the  interior  were  of  marble,  and 
the  exterior  arches,  whose  lower  tier  was 
ornamented  with  engaged  Tuscan  col- 
umns, of  travertine.  It  could  hold  forty 
thousand  people.  Much  still  remains  of 
tills  theatre,  tiiough  for  the  most  part  con- 
cealetl  by  modern  houses.  At  the  back  of 
the  stage-structure  was  the  splendid  Por- 
tico of  Pompey.  with  several  parallel 
ranges  of   columns   surrounding  a  court, 


428 


RO.ME 


and  adjoining  this  was  the  Curia  of  Pom- 
pey,  in  which  the  Senate  met,  and  where 
Ca?sar  was  murdered. 

Thekm.e  of  Agkippa,  tlie  first  of  tlie 
great  f)ublic  batlis  of  Rome,  opened  in  21 
B.C.  Tliey  were  situated  immediately  be- 
liind  tlie  Pantheon,  were  very  large  and 
splendidly  ornamented,  and  were  supplied 
with  water  by  the  aqueduct  of  the  Aqua 
Virgo,  also  built  by  Agrippa.  These 
therma?  survived  in  great  ])art  down  to  the 
early  xvi  cent.,  but  what  little  is  now  left 
is  for  the  most  part  masked  by  modern 
houses.  In  1881-8"2  a  row  of  houses  built 
behind  the  Pantheon  was  removed,  and 
imjxirtant  remains  of  the  great  hall  of  the 
therniiB  were  exposed.  It  was  ornamented 
with  fluted  columns  of  pavonazetto  marble 
and  with  an  entablature  of  Pentelic  mar- 
ble, including  a  frieze  sculptured  with 
dolphins  and  tridents.  Part  of  the  entab- 
lature has  been  replaced  in  jjosition.  The 
hall  was  encrusted  and  paved  with  beauti- 
ful marbles,  and  an  apse  for  a  statue  was 
added  by  Hadrian  on  the  side  toward  the 
Pantheon.  The  theory  once  entertained 
that  the  Pantheon  was  connected  with  the 
thermae  of  Agrippa  is  now  rejected. 

Therm.e  of  Oaracalla,  one  of  the 
most  sumptuous  foundations  of  Roman 
imperial  luxury,  still  imposing  in  its  utter 
ruin.  The  main  central  structure,  includ- 
ing the  baths  and  their  immediate  acces- 
sories, was  completed  by  Oaracalla  in  216 
A.D.  ;  the  outer  court,  about  1,100  ft. 
square,  with  its  porticoes,  exedras,  sta- 
dium, gardens,  etc.,  was  added  by  Ilelio- 
gabalus  and  Alexander  Severus.  The  great 
central  hall  of  the  baths,  once  the  tepida- 
riuin  or  warm  bath,  was  a  nolile  room  l.si) 
ft.  by  "i'l  ft.,  covered  with  groined  vaulting. 
The  caldarium  or  steam-bath  was  a  ro- 
tunda 160  ft.  in  diameter.  The  decora- 
tion of  the  whole,  with  precious  marbles, 
alabaster,  mosaics,  wall  -  jiaintings,  and 
sculptures,  was  of  the  most  lavish  charac- 
ter. The  athlete  mosaic  of  the  Lateran 
came  from  the  palsestra  of  these  therma?, 


and  here  were  excavated  in  the  xvi  cent, 
the  famous  Farnese  Hull,  Farncse  Her- 
cules, and  Farnese  Flora,  and  over  one 
hundred  other  pieces  of  ancient  sculpture. 

The'rii.e  of  Diocletian,  between  the 
Viminal  and  the  Quirinal,  dedicated  305- 
306  A.D.  The  architect  Palladio  took  the 
jilan  of  the  remains  in  the  days  of  the  Re- 
naissance ;  now  but  scanty  fragments  sur- 
vive, in  brick  masonry,  besides  the  mod- 
ern church  of  S.  Bernardo,  together  with 
the  splendid  central  hall,  which,  as  ada2)t- 
ed  by  Michael  Angelo,  constitutes  the  f)res- 
eut  transept  of  Sta.  Maria  degli  Angeli. 
This  hall  is  about  200  ft.  long,  95  ft.  liigh, 
and  7'J  ft.  wide  ;  it  is  covered  by  three 
superb  groined  vaults,  whose  imposts  are 
received  by  eight  columns  of  red  syenite 
with  monolithic  shafts  38  ft.  high,  to 
which  their  Corinthian  and  Composite 
capitals  add  6  ft.  The  ancient  bases  are 
buried  7  ft.  beneath  the  raised  modern 
pavement.  The  lighting  is  managed  by 
windows  high  in  the  lunettes  of  the 
vaults.  Despite  the  disfigurement  of  mod- 
ern decoration,  this  noble  hall  is  highly 
impressive.  It  exerted  a  profound  influ- 
ence upon  the  architecture  of  the  Re- 
naissance. At  each  angle  of  one  side  of 
the  enclosure  which  surrounded  the  cen- 
tral buildings  was  a  circular  domical  build- 
ing resembling  a  small  Pantheon.  One  of 
these  is  still  essentially  jierfect,  and  since 
1598  has  served  as  the  church  of  S.  Ber- 
nardo alle  Terme.  The  opening  at  the  ver- 
tex of  its  dome  is  covered  by  a  modern  lan- 
tern. About  half  the  opposite  rotunda  is 
still  standing. 

Thermje  of  Titus,  a  very  extensive 
public  bathing  establishnu-nt,  hastily  built 
by  Titus  immediately  after  the  dedication 
of  the  Colosseum,  in  80  a.d.  It  was  built 
over  the  remains  of  Nero's  Golden  House, 
portions  of  which  still  exist  in  its  sub- 
structions. The  only  part  excavated  is  a 
piece  of  one  side  of  the  enclosure,  consist- 
ing of  nine  parallel  vaulted  corridors 
bounded  by  a  curved  line.     These  may  rep- 


429 


ROME 


resent  the  fouiulalion.s  of  a  theatre.  i>e- 
neatli,  a  series  of  seven  rooms  belonging 
to  Nero's  palaue  is  accessible,  together 
with  otiier  remains  of  some  extent.  These 
rooms  were  opened  in  Kaphael's  day,  and 
served  as  example  and  inspiration  for 
much  of  the  Renaissance  of  the  xvi  cent.  ; 
their  decoration  with  wall-paintings  and 
grotesques  and  other  ornaments  in  stucco 
was  much  admired  by  him.  Afterward 
they  were  closed  again,  and  were  reopened 
by  the  French  in  the  beginning  of  the 
present  century.  Parts  of  the  wall-paint- 
ing still  remain,  in  au  excellent  style,  re- 
sembling the  best  of  that  at  Pompeii. 

ToMi!  OF  Caus  Oesti's.  See  Pjjrn- 
m  id. 

Tomb  of  C.Ti;ciLiA  Metella,  daugh- 
ter of  Q.  Metellus  Creticus,  and  wife  of  a 
Crassus,  perhaps  Oajsar's  qUcBstor.  It  is  a 
massive  round  tower  97  ft.  in  diameter, 
rising  frona  a  triangular  basement,  faced 
with  beautiful  ashlar  of  travertine,  and 
girdled  beneath  the  cornice  by  a  hand- 
some marble  frieze  sculptured  with  bu- 
crauia  and  garlands.  The  summit  of  the 
monument  now  bears  a  battlemented 
medieval  fortification.  The  grave-cham- 
ber, now  ruinous,  had  a  conical  vault.  It 
is  probable  that  the  original  termination 
of  the  monument  was  domical. 

University.     See  La  Sapinna. 

The  Vatican,  the  official  residence  of 
the  popes,  and  seat  of  tlio  papal  govern- 
ment, may  be  said  to  consist  of  two  dis- 
tinct masses  of  building,  occupying  the 
slope  of  the  hill  at  the  foot  of  wliich 
stands  St.  Peter's,  and  connected  by  two 
narrow  parallel  galleries  about  1,000  ft. 
long  and  240  ft.  apart,  themselves  con- 
nected about  the  uiiddle  of  their  length 
by  two  cross-galleries  which  divide  the  en- 
closed space  into  two  rectangular  courts 
of  nearly  equal  size.  Of  these  two  masses 
of  building,  the  one  to  the  south  is  prop- 
erly the  palace  of  the  Vatican,  and  con- 
nected with  the  great  basilica  of  St.  Peter  ; 
that   to    the    north,   originally  a   garden- 


house  of  the  jiopes,  and  of  no  great  ex- 
tent, still  retains  its  early  appellation  of 
the  Belvedere.  Both  of  these  great  divi- 
sions are  composed  of  an  immense  number 
of  halls,  chapels,  galleries,  state  apart- 
ments, staircases,  courts,  and  private  apart- 
ments of  enormous  extent,  dating  from 
various  ages,  the  work  of  successive  jjopcs, 
and  whose  arrangement,  determined  for 
the  most  part  without  i-eference  to  any 
general  or  comprehensive  scheme,  will  be 
best  understood  by  reference  to  the  accom- 
panying plan.  The  principal  entrance  is 
by  the  Scala  Regia,  a  magnificent  stair- 
case built  by  Urban  VIII.,  about  1G30, 
from  the  designs  of  Bernini,  which  opens 
from  the  south  end  of  tlie  great  western 
vestibule  of  St.  Peter's,  and  is  also  a  con- 
tinuation of  the  north  arm  of  the  enclos- 
ing colonnade  of  that  church.  The  stair- 
case is  divided  into  two  runs,  the  first  13U 
ft.  long,  rising  about  39  ft.  ;  the  second 
nearly  80  ft.  long  and  rising  18  ft.  The 
first  run  is  built  in  false  perspective,  di- 
minishing as  it  rises,  to  increase  its  appar- 
ent length,  from  a  width  at  the  bottom  of 
about  '^G  ft.  to  about  16  ft.  at  the  top,  and 
flanked  by  an  order  of  detached  Ionic  mar- 
ble columns  bearing  a  ramping  entalda- 
ture,  which  with  its  deeply  panelled  bar- 
rel-vault also  diminishes.  This  staircase 
leads  to  the  Sala  Regia,  a  rectangular 
hall  built  by  Antonio  Sangallo  about 
l.")40,  and  serving  chiefly  as  an  ante-room 
to  tlie  Pauline  and  Sistine  chapels,  which 
open  from  it  ;  the  former  built  at  the 
same  time,  by  the  same  architect,  the  lat- 
ter some  seventy  years  e.irlier,  by  Baccio 
Pintelli.  The  Sistine  Chapel  is  a  simple 
rectangular  hall  about  130  ft.  long  and  44 
ft.  wide,  with  aflat  ceiling  connected  with 
the  walls  by  a  cove  broken  by  lunettes. 
Its  i)laiu  walls  are  pierced  above  by  six 
arched  windows  on  each  side,  the  s^iace 
below  being  divided  horizontally  into  two 
bands,  the  upper  containing  a  series  of 
great  frescoes  by  Perugino,  Luca  Signo- 
relii,  Sandro  Botticelli,  and  other  masters 


430 


ROME 


of  tlip  XV  cent.  ;  the  lower,  iiiteiuleil  orig- 
inally to  be  covered  by  the  tajiestries 
made  from  Eiiphael's  cartoons,  but  now 
jiainted  in  imitation  of  drapery.  The 
ceiling  and  one  of  the  end  walls  are  cov- 
ered with  the  frescoes  of  Michael  Angelo, 
from  which  the  snpreme  interest  of  the 
chapel  is  derived.  From  the  opposite 
side  of  the  Sala  Regia  opens  the  long  Sala 
Ducale,  some  30  ft.  wide  and  130  ft.  long, 
built  from  the  designs  of  Bernini,  with 
plain  walls  but  a  coved  ceiling  magnifi- 


luuseum  and  the  pontifical  ])alacc,  the 
three  others  consisting  each  of  an  arcaded 
order  of  columns,  Doric,  Ionic,  and  Corin- 
thian, re.spectively.  All  the  arcades  are 
profusely  decorated  with  frescoes,  but  tliose 
of  one  side  on  the  third  story  are  celebrat- 
ed as  the  Loggie  of  Raphael,  being  adorned 
with  frescoes  of  scriptural  subjects  cover- 
ing the  vaults  of  the  ceiling,  and  with  ara- 
besque jjaintings  and  stucco  reliefs  on  the 
pilasters,  of  the  utmost  delicacy  and 
beauty,  executed  from  Raphael's  designs 


Fig.  203.— Rome.  Vatican. 


1.  Scala  Regia. 

2.  Sala  Regia. 

3.  Sistine  Chapel, 

4.  Sala  Ducale. 

5.  Court  of  S.  Damaso 

6.  Court  of  Pal.  of  Sisto  V. 


7.  Appartamenti   Borgia. 

8.  Museo  Lapidario. 

9.  Library. 

10.  Braccio  Nuovo. 

11.  Great  Court  of  Belvedere. 


12.  Garden  of  La  Vigna. 

13.  Museo  Chiaramonte. 

14.  Smaller  Court  of   Belvedere 

(Museo  Pio  Clementino). 

15.  Sala  delle  Statue. 


16.  Sala  degli   Animali. 

17.  Sala  delle   Muse. 

18.  Rotonda. 

19.  Egyptian   Museum. 

20.  St.  Peter's. 


ceutly  decorated  with  frescoes  by  Loren- 
zino  da  Bologna,  and  forming  a  gallery  of 
communication  between  the  great  stair- 
case with  its  adjacent  chapels,  and  the 
residence  portions  of  the  palace,  which 
surround  the  Cortile  delle  Loggie,  called 
also  the  Court  of  St.  Damasus.  This 
court,  begun  about  1510,  from  the  designs 
of  Bernini,  and  finished  after  his  death  by 
Rapliael,  is  an  irregular  quadrangle  about 
310  ft.  by  146  ft.,  surrounded  on  three 
sides  by  four  stories  of  building,  the  low- 
est a  simple  arcade  w'ith  entrances  to  the 


and  under  his  supervision  by  liis  jiupils. 
The  arcades  were  long  open  to  the  weather, 
and  the  pictures  had  suffered  great  injury 
before  the  openings  were  closed  by  glass 
in  1813.  From  the  end  of  this  gallery 
oj^ens  a  suite  of  four  square  rooms,  origi- 
nally a  iiortion  of  the  official  apartments  of 
the  popes,  and  of  which,  by  command  of 
Julius  II.  and  Leo  X.,  the  walls  and  ceil- 
ings were  painted  in  fresco  by  Rapliael 
and  his  succes.sors.  The  work  was  execu- 
ted betw'een  1508  and  1520,  and  the  rooms 
have  since  been  known  as  the  Stanze  of 


4-31 


ROME 


Raphael.  The  buildings  to  the  east  and 
north  of  the  court  of  St.  Daniasus,  sur- 
rouiidina;  the  small  court  of  Sixtus  Y.,  are 


Fig.  204. — Rome,  Vatican,  Hall   of   Statues   in   the    Belvedere. 

occuj)ied  by  the  j)rivate  ajiartments  and 
offices  of  the  jiope  and  his  household. 

The  remainder  of  this  vast  groui>  of 
buildings,  those  namely  at  its  northern 
extremity  known  as  the  Belvedere,  with 
the  long  galleries  connecting  them  with 
the  buildings  at  the  southern  end,  and 
the  two  transverse  galleries  dividing  the 
great  court,  are  entirely  given  up  to  the 
immense  and  varied  collections  of  sculpt- 
ure, antiquities,  books,  and  manuscripts 
which  are  known  as  the  JIusenm  of  the 
Vatican.  At  its  princijKil  entrance  near  the 
N.  W.  angle  a  fine  staircase  of  marble, 
opening  from  a  vestibule  in  the  form  of  a 
Greek  cross,  leads  to  a  hall  of  similar  shape 
called  the  Sala  a  Croce  Greca,  and  this 
again  to  the  Rotonda,  a  great  circular 
hall  GO  ft.  in  diameter,  built  by  Pius  VII. 
from  Simonetti's  designs,  to  receive  the 
great  porphyry  vase  or  tazza,  15  ft.  in  di- 


ameter, found  in  the  Baths  of  Titus. 
The  hall  is  .surrounded  by  semicircular 
niches  containing  statues,  in  the  intervals 
of  an  order  of  Corinthian  pilasters,  over 
u'hich  is  a  range  of  semicircular  windows, 
iind  is  covered  by  a  coffered  hemispherical 
dome.  The  centre  of  the  floor  is  an  an- 
cient mosaic  found  at  Otricoli,  in  1780. 
The  Sala  delle  :\rusc  (Hull  of  the  Muses), 
a  noble  gallery  in  three  compartments 
divided  by  coujjled  Corinthian  columns  of 
marble,  connects  the  Rotonda  with  the 
galleries  surrounding  the  Cortile  or  inner 
court  of  the  Belvedere.  This  court,  built 
(iriginally  by  Bramante,  which  may  be  re- 
garded as  the  central  point  of  the  Museum, 
forms  a  square  of  about  70  ft.,  surrounded 
by  a  vaulted  corridor  some  16  ft.  Avide, 
opening  from  the  court  through  the  inter- 
vals of  an  Ionic  order,  the  angles  of  the 
s(]u;ii'e  cut  off.  and  those  of  the  corri- 
dor oecu])ied  by  four  cabinets,  three  of 
which  are  devoted  to  the  most  precious 
examples  of  Greek  sculpture,  the  Laocoon, 
the  Apollo,  and  the  Antinoiis  or  Mercury, 
the  fourth  being  occuiiied  by  the  Perseus 
of  Canova.  The  court  is  enclosed  on  two 
sides  by  the  Hall  of  Animals  and  the  long 
Gallery  of  Statues.  The  halls  and  galler- 
ies thus  far  enumerated  constitute  what  is 
known  as  theMuseo  Pio  Clementino,  from 
the  two  jiopes,  Pius  VI.  and  Clement 
XIV.,  who  founded  it,  and  by  whom  the 
halls  were  for  the  most  part  built  and 
filled.  On  the  N.  E.  angle  of  the  Belve- 
dere is  a  square  tower  containing  a  circu- 
lar staircase  of  remarkable  construction, 
designed  by  Bramante.  It  is  about  ^7  ft. 
in  diameter,  witli  a  spiral  ring  of  Doric 
columns  with  entablatures  carried  from 
bottom  to  top,  a  height  of  something  over 
50  ft.,  around  an  inner  circular  well  13  ft. 
in  diameter.  From  the  soutliernmost  of 
an  irregular  suite  of  rooms  flanking  the 
Cortile  on  the  east,  a  broad  stair  descends 
to  the  long  gallery  of  the  other  great  di- 
vision of  tlie  ]\lHseum.  called  the  Museo 
Chiaramonti,  from  the  family  name  of  its 


43! 


PISTOIA-CATHEDRAL  SQUARE 


•"rirnfl 


ROME 


fouiuler,  Pojic  Pius  \ll.,  wliich  occupies 
the  half  of  one  of  the  great  galleries  that 
connect  the  Belvedere  with  the  soutliern 
portion  of  the  palace,  from  the  middle  of 
wliich  the  newest  addition  to  the  build- 
ings, known  as  the  Braccio  Nuovo,  is  car- 
ried across  the  court.  This  fine  hall,  be- 
gun in  1817  and  finished  in  18"22,  from  the 
designs  of  a  German  architect,  IJafacl 
Stern,  is  about  26  ft.  wide  and  235  ft.  long, 
and  nearly  40  ft.  high,  covered  by  a  pan- 
elled barrel-vault,  the  walls  on  each  side 
lined  with  a  series  of  sixteen  niches,  the 
centre  marked  on  one  side  by  a  square 
projecting  bay,  and  on  the  other  by  a 
semicircular  tribune  20  ft.  wide.  The 
gallery  is  lighted  from  above,  and  contains 
many  of  the  most  remarkable  examples  of 
Greek  art.  Crossing  the  great  court  par- 
allel with  the  Braccio  Nuovo,  but  at  a 
somewhat  lower  level,  is  the  Library,  built 
under  Sixtus  V.,  in  158G,  by  Fontana.  It 
is  a  hall  4G  ft.  wide  and  335  ft.  long, 
lighted  by  seven  windows  on  each  side, 
and  divided  by  a  lino  of  massive  square 
jiiers  in  the  middle  of  its  breadth,  the  ceil- 
ing on  each  side  being  divided  into  groined 
bays  and  painted  in  the  liveliest  style 
with  arabesques  and  views  in  fresco  and 
figures  in  the  Pompeiian  manner.  The 
books  and  MSS.  are  contained  in  closed 
cases,  which,  as  well  as  the  piers,  are  paint- 
ed in  a  style  similar  to  that  of  the  ceiling. 
The  collections  of  the  library  have,  since 
this  hall  was  built,  overflowed  into  the 
long  western  gallery  flanking  the  great 
court,  of  which  they  now  occupy  the 
whole  length  of  one  story.  [See  Fit/s. 
£03,  204.  f 

The  history  of  the  Vatican  begins  as  far 
back  as  the  reign  of  Constantino,  who 
built  a  palace  contiguous  to  the  old  basil- 
ica of  St.  Peter  for  the  residence  of  the 
clergy  connected  with  the  church,  in  which 
Charlemagne  is  said  to  have  lived  for  a 
time  at  the  period  of  his  coronation  by 
Leo  in.  The  early  buildings  disajipeared 
during   the    disturbances   of   the    middle 


ages,  and  the  oldest  portions  of  the  pres- 
ent palace  probably  date  from  the  middle 
of  the  XII  century.  It  was  enlarged  by 
successive  popes,  notably  in  1278,  1447, 
and  1471,  but  did  not  become  the  papal 
residence  until  after  the  return  of  the 
popes  from  Avignon,  in  1377.  During 
the  stormy  periods  of  the  xiv  and  xv 
cents.,  it  was  connected  by  a  walled  and 
covered  passage  with  the  Castle  of  St. 
Angelo,  which  had  by  that  time  been  con- 
verted into  a  strong  fortress.  The  Belve- 
dere was  built  by  Innocent  VIII.  and 
Alexander  VI.,  between  1484  and  1504,  as 
a  villa.  It  was  then  separated  from  the 
Vatican  by  a  rough  hillside.  Julius  II., 
early  in  the  xvi  cent.,  conceived  the  plan 
of  uniting  the  two  buildings,  and  a  com- 
prehensive and  magnificent  project  was 
devised  by  Bramante,  of  which,  though  it 
was  never  completely  carried  out,  the 
drawings  remain,  and  which  contemplated 
a  single  unbroken  court,  more  than  1,000 
ft.  long  and  250  ft.  wide,  stretching  from 
the  old  palace  to  the  villa ;  the  slope  of 
the  laud  corrected  by  a  stately  terrace 
midway,  with  two  ranges  of  steps  ;  the 
sides  of  the  courts  lined  with  three  stories 
of  arcades,  the  southern  end  made  into  a 
theatre,  with  ranges  of  curving  seats  rising 
one  above  another,  from  wliich  to  witness 
games  and  tournaments  in  the  lower  court ; 
and  the  northern  end  closed  by  the  new 
fa9ade  of  the  Belvedere  with  a  great  vault- 
ed exedra  or  niche  in  the  middle.  The 
connecting  galleries  forming  the  sides  of 
the  court  were  built  partly  under  Bra- 
mante, and  partly  after  his  death,  by  San- 
gallo,  Peruzzi,  and  other  architects,  and 
the  great  exedra  still  suggests  the  splen- 
dor of  the  intended  effect,  which,  how- 
ever, was  destroyed  by  the  building,  in 
1586,  of  the  Library  across  the  middle  of 
the  courts.     (See  also  Villa  Pia.) 

ViCxXA   ni   Papa   Giulio.     See    ViUa 
(li  Papa  Giulio. 

The  Villa   Albani,  one  of  the  most 
important    and   interesting  of  the  great 


KOME 


suburban  villas,  lies  on  the  northern  edge 
of  the  city  just  outside  the  Porta  Salara, 
and  in  the  midst  of  very  extensive 
grounds,  laid  out  with  the  formal  and 
elaborate  art  of  the  xviii  century.  The 
principal  building  consists  of  a  long 
casino  with  a  central  division  two  stories 
in  height,  and  wings  of  one  low  story  ex- 
tending on  either  side,  the  entire  length 
being  about  "^(iO  ft.  The  outer  elevation 
is  plain  and  without  openings,  the  wall 
being  divided  by  jiilasters  and  having  a 
projecting  entrance  porch  in  the  centre. 
The  garden  front  has  on  the  first  story  an 
open  Palladian  arcade  of  nine  arches  in 
the  centre  and  seven  low'er  on  each  side, 
enclosed  in  an  order  of  rustic  Ionic  pi- 
lasters. The  second  story  of  the  centre 
has  an  order  of  Corinthian  pilasters  on  a 
high  pedestal-course,  w'ith  jjedimented 
windows  in  the  intervals,  small  round 
mezzanine  windows  above,  and  a  balus- 
traded  cornice.  At  the  extremities  of 
the  wings  are  porticoes,  one  with  antique 
caryatids  and  the  other  with  marble  col- 
umns. Separated  from  the  casino  by  a 
broad  2:)arterre  is  a  semicircular  open  ar- 
cade about  90  ft.  in  diameter,  at  the  centre 
of  which  is  a  small  square  iMvilion.  The 
works  of  the  villa  were  begun  about  1140 
by  Cardinal  Alexander  Albani,  the  cardi- 
nal himself  directing  the  design,  which 
was  executed  under  his  own  supervision 
by  Carlo  Marchionni.  The  grounds  were 
laid  out  by  Antonio  NoUi,  and  are  remark- 
able for  the  great  number  of  statues,  bas- 
reliefs,  vases,  and  other  remains  of  an- 
cient art  with  which  they  are  judiciously 
decorated.  The  interiors  were  adorned 
by  Kaphael  Mengs,  the  ceiling  of  the 
principal  gallery  having  been  painted  en- 
tirely by  him.  The  casino  contained  orig- 
inally what  was  doubtless  the  most  exten- 
sive and  valuable  private  collection  of 
ancient  sculpture  in  existence,  being  sur- 
passed in  importance  only  by  tlic  galleries 
of  the  Vatican  and  the  Capitol.  But  the 
greater  part  of  the  collection  was  stolen 


by  Kapoleon,  who  carried  olf  nearly  three 
hundred  statues  and  bas-reliefs,  which 
having  been,  after  the  peace  of  1815,  re- 
stored to  the  cardinal,  were  sold  by  him  to 
the  king  of  Bavaria  and  now  form  jiart 
of  the  royal  collections  at  Munich. 

The  Villa  BoRCiiiESE  lies  on  the 
northern  edge  of  Rome,  its  entrance  lieing 
just  outside  tlie  Porta  del  Popolo,  and  its 
grounds,  which  are  of  immense  extent,  are 
bounded  on  one  side  by  the  city  walls. 
1'hey  include  many  buildings  of  various 
kinds,  of  which  the  most  important  is  the 
great  Casino  or  residence,  built  in  1U05,  for 
Cardinal  Scipione  Borghese,  from  the  de- 
signs of  Hans  von  Xantere,  called  Giovanni 
Vasanzio,  a  Fleming.  It  measures  aljout 
1-10  ft.  in  length  and  120  ft.  in  depth,  and 
is  in  two  stories  with  a  five-arched  vault- 
ed entrance  vestibule  in  the  centre  of  its 
main  (garden)  front,  over  which  the  wall 
is  recessed  and  carried  up  two  stories.  It 
was  much  altered  during  the  xviii  cent., 
when  under  the  direction  of  Canina  it 
was  converted  into  a  series  of  galleries  for 
the  remarkable  collection  of  ancient 
sculjitures  belonging  to  the  Borghese 
family.  The  gardens  were  laid  out  by 
Sabino  of  ]\Iontepulciano.  The  grounds 
are  now  freely  used  by  the  public. 

The  Villa  Dohia  Pamiili,  lying  a 
little  distance  outside  the  Porta  S.  Pan- 
crazio,  on  the  west  of  Home,  is  one  of  the 
largest  and  most  beautiful  of  all  the 
suburban  villas  which  surround  the  city, 
the  circuit  of  its  grounds  measuring 
about  four  miles.  The  Casino  is  a  square 
building  of  no  great  size,  standing  on  the 
side  of  a  large  rectangular  sunken  par- 
terre of  formal  arrangement,  with  exten- 
sive gardens  before  and  behind.  It  is  of 
two  stories,  decorated  each  with  an  order 
of  Corinthian  pilasters  with  pedimented 
windows  and  niches  in  the  intervals,  and 
with  a  high  attic  above.  The  fa(;ade 
toward  the  parterre  has  an  additional 
basement  story  with  an  arched  loggia. 
The   casino  was  built   by   Algardi    about 


ROME 


lUJO  ;  tlie  grounds  were  laid  out  by  Al- 
giirdi  iiiul  Antinori. 

Vij.i.A  Fakxesixa.  .See  Pahizzo  Far- 
nesinu. 

Villa  of  M.ecexas.  See  Aitdilorium 
of  Mcercnas. 

The  A'lLLA  Mada.ma  occupies  a  com- 
manding site  on  the  eastern  slope  of 
Monte  Mario,  a  mile  and  a  half  X.  W. 
from  Rome.  It  consists  of  a  casino  of 
moderate  size,  raised  on  a  high  basement, 
of  which  the  principal  feature  is  a  lofty 
open  loggia  of  three  round  arches,  faced 
with  an  order  of  Ionic  pilasters  which  is 
continued  around  the  building.  This 
loggia,  which  0})ens  from  the  extremity  of 
an  elevated  bridge-like  terrace,  is  vaulted, 
and  its  walls  and  ceilings  are  famous  for 
their  decoration  by  Giulio  Romano  and 
Giovanni  da  Udine.  The  remaining  por- 
tion of  the  casino  is  in  two  stories,  and 
presents  nothing  remarkable.  In  the  rear 
is  a  finely  conceived  semicircular  court 
which  renuiins  incomplete.  The  villa  was 
built  early  in  the  xvi  cent,  for  Cardinal 
Giulio  de  Medici,  afterward  Clement  VII. 
Raphael  furnished  the  designs,  which  were 
carried  into  execution  with  alterations  by 
Giulio  Romano.  It  was  never  finished 
and  has  long  been  in  a  ruinous  condition. 

The  Villa  Medici,  one  of  the  most 
familiar  of  the  Roman  villas,  occupies  a 
commanding  site  on  the  Pincian  Ilill, 
standing  in  the  midst  of  extensive  grounds 
adjoining  the  public  pleasure  grounds  of 
the  Pincian,  and  bounded  on  one  side  by 
the  city  walls.  The  principal  building  is 
a  rectangle  of  about  37  ft.  by  85  ft.,  with 
an  entrance  front  of  simple  design  in  two 
stages,  each  with  a  princii)al  and  mezza- 
nine story  ;  and  a  picturesque  and  dis- 
orderly fajade  toward  the  garden,  jjopu- 
larly  ascribed  to  Michael  Angelo,  with  a 
centre  and  two  slightly  advancing  wings, 
the  centre  having  on  the  ground-floor  an 
open  loggia  with  a  high  middle  arch,  and 
an  ujjjDer  story  with  three  windows  with 
pedimented  caps.    This  central  division  is 


Hanked  by  two  square  towers.  The  whole 
facade  is  adorned  with  ancient  bas-reliefs, 
architecturally  disjjosed  in  panels.  From 
the  extremity  of  the  casino  a  long  gallery 
projects  at  right  angles  with  it,  containing 
a  fine  collection  of  ancient  sculpture.  The 
villa  was  begun  about  the  middle  of  the 
XVI  cent.,  by  Cardinal  Giovanni  Ricci  da 
Montepulciano,  and  finished  somewhat 
later  from  the  designs  of  Annibale  Lippi. 
It  was  ceded  to  the  French  Government  in 
1802,  and  became  the  home  of  the  French 
Academy,  at  which  the  students  sent  to 
Rome  by  the  Ecole  des  Beaux-Arts  at 
Paris  j)ursue  their  studies. 

Villa  di  Papa  Gitlio,  the  villa  of 
Pope  Julius  III.,  on  the  Via  Flaminia, 
about  a  mile  outside  the  Porta  del  PojJolo, 
though  now  in  a  neglected  and  decayed 
condition,  is  still  one  of  the  most  interest- 
ing, as  it  was  originally  one  of  the  most 
sumptuous  and  elegant,  of  the  pleasure- 
houses  of  Italy.  It  was  begun  early  in 
the  XVI  cent.,  by  Cardinal  di  Monti,  and 
was  continued  by  his  nephew,  also  a  car- 
dinal, who  became  pope  under  the  name 
of  Julius  III.  It  stands  in  the  middle  of 
an  extensive  estate  known  as  the  Vigna 
(vineyard)  di  Papa  Giulio,  about  400 
yards  from  the  Via  Flaminia.  At  the 
corner  of  the  way  by  which  the  villa  is 
ajiproached  is  a  casino,  also  built  by  Vig- 
nola,  with  a  singular  plan — open  arcades 
in  the  first  story  partially  surrounding  a 
hexagonal  court,  and  a  great  staircase  as- 
cending to  the  second,  which  contains  a 
suite  of  apartments  decorated  with  much 
beauty.  The  fa9ade  jiresents  below  a 
blank  wall  with  an  arched  doorway  in  the 
centre,  of  rustic  masonry  enclosed  in  a 
portico  of  columns.  Above  is  an  ojjcu 
loggia  with  square  windows  on  each  side. 
The  corner  is  cut  off,  and  makes  room  for 
a  fountain  enclosed  in  a  central  arch  with 
two  orders  of  pilasters.  The  plan  of  the 
villa  itself  is  at  once  picturesque  and 
stately.  A  great  coiys-de-Jogis  fronts  the 
road,  and   behind  it  are  two  high-walled 


435 


RONZANO 


open  courts,  front  and  rear,  separated  liy 
a  second  range  of  buildings,  and  closed  in 
the  rear  by  a  third.  The  finely  propor- 
tioned facade  has  a  length  of  nearly  l.JO 
ft.,  with  receding  ends.  Each  story  has  a 
central  composition  of  columns  and  pi- 
lasters, of  rustic  work  in  the  first  story, 
and  on  each  side  scpuire-headed  windows 
in  hotli  stories,  carrying  a  full  entabla- 
ture and  pedestal-course  between  the  sto- 
ries and  a  double  -  modillioned  cornice 
under  the  roof,  all  designed  with  finely 
elaborated  and  elegant  details.  The  front 
of  the  first  and  larger  court,  90  ft.  by  100 
ft.,  is  semicircular,  and  bordered  by  an 
open  vaulted  loggia  in  horseshoe  form  on 
the  ground-floor,  above  which  is  a  range 
of  apartments  connected  with  those  in  the 
facade.  Two  orders  of  pilasters  and  an 
upper  range  of  windows  continue  the 
composition  of  the  fa9ade  round  the  scnu- 
circle.  The  loggia  is  treated  with  a  row 
of  small  Corinthian  columns  in  the  inter- 
vals of  the  pilasters,  carrying  a  horizontal 
architrave,  and  only  interrupted  at  the 
ends  and  in  the  middle  by  great  arches. 
The  high  side-walls  of  the  court  are  archi- 
tecturally decorated  with  a  blind  arcade 
under  an  Ionic  order,  with  an  attic  above. 
The  second  and  smaller  court  drops  con- 
siderably l)elow  the  first,  and  from  the 
open  loggia  that  sc[)a.rates  them  a  (|uad- 
rant  staircase  leads  <lown  on  either  hand, 
repeating  the  lines  of  the  upper  court ; 
while  in  the  middle  of  the  pavement  is 
sunk  a  semicircular  nymphajum.  guarded 
by  a  balustrade  and  surrounded  by  pilas- 
ters and  caryatids,  between  which  are 
niches  where  water  flowed  continually  into 
a  series  of  basins.  At  the  back  of  the 
court  is  a  vaulted  grotto,  and  above  it 
a  cross-gallery  broken  by  a  triuin])hal  arch 
which  leads  to  a  walled  garden,  terraced 
above  the  level  of  the  first  court.  The  in- 
terior decoration  of  the  principal  building 
is  of  great  richness  ;  the  vaults  of  tlu;  ar- 
cades are  painted  with  arabesques,  birds, 
and  figures,  and  the  walls  are  divided  into 


]ianels  with  similar  decoration.  Near  by, 
on  the  same  estate,  stands  Julius's  votive 
Chapel  of  S.  Andrea  {q.  v.). 

\iLh.v  Pi  A,  an  elaborately  designed 
pleasure-house  in  the  gardens  of  the  Vati- 
can, of  which  the  buildings  are  disposed 
round  an  elliptical  court  on  the  slope  of 
a  hill.  At  the  front  is  a  pavilion,  con- 
sisting of  an  ojoen  vaulted  loggia  al)out  'i'.\ 
ft.  wide  and  40  ft.  long,  on  a  level  wiih 
the  court,  and  a  basement  fronting  the 
grounds  and  adorned  with  fountains  and 
statues,  on  either  side  of  which  a  curving 
staircase  leads  to  the  level  of  the  court, 
which  is  entered  at  each  extremity  through 
a  small  pavilion  in  the  form  of  a  temple. 
The  court  is  about  85  ft.  long  and  05  ft. 
wide.  })avcil  with  racsaic,  with  a  fountain 
in  the  mitldle,  and  surrounded  by  a 
high  panelled  wall  lined  with  continuous 
benches  of  marble.  On  its  fourth  side 
stands  the  casino,  with  a  fac/ade  about  40 
ft.  long,  in  three  stages,  the  first  with  an 
open  entrance  loggia  decorated  with  mo- 
saics, bas-reliefs,  and  stucco  araljesipies. 
Tiio  whole  front  is  also  lavishly  adorned 
in  the  same  manner.  The  building  has  a 
depth  of  some  80  ft.  and  occupies  a  level 
rectangular  terrace  in  the  hillside,  en- 
closed by  a  high  wall  decorated  witii 
niches  containing  statues.  The  apart- 
ments are  sumptuously  decorated  with 
paintings,  sculptures,  mosaics,  and  frag- 
ments of  ancient  art.  TMie  villa  was  built 
in  1500  for  Pius  IV..  from  the  designs  of 
Pirro  Ligorio. 
RONZANO,  Italy. 

Sta.  M.vkia  l)clongs  to  the  small  group 
of  primitive  Romanesque  churches  in  this 
part  of  the  Abruzzi.  Its  ground-plan  is 
l)asili(!al  with  three  apses,  its  style  broad 
and  simple.  The  nave  consists  of  high 
rece-ssed  round  arches  su])p(n'ted  on  piers 
so  grouped  as  to  sustain  pi-imitive  groin- 
vaults  which  at  some  time  fell  in  and 
have  been  replaced  by  ;i  wooden  roof  ;  the 
upper  })art  of  the  outer  wall  was  then  re- 
built.     The  piers  and   arches  consist  of 


431; 


RUVO 


very  white  stone.  The  transept  retains 
its  three  groin -vaults  with  very  heavy 
torus  ribs  in  the  central  compartment. 
High  triumphal  arches  open  out  from 
this  compartment.  As  the  style  of  the 
cliurch  points  to  the  close  of  the  xi  or 
beginning  of  the  xii  cent.,  and  as  a  docu- 
ment of  1183  speaks  of  it  as  already  in  ex- 
istence, it  is  interesting  to  note  the  use  of 
groined  vaults,  which  at  this  period,  in  this 
region,  is  most  unusual.  It  is  probably 
due  to  Lombard  influence.  [A.  L.  F., 
Jr.] 
IIUVO,  Italy. 

The  Cathedral  (Sta.  Maria  Assunta) 
is  a  small  rectangular  basilica,  rebuilt 
near  the  beginning  of  the  xii  cent.,  about 
100  ft.  long  and  C5  ft.  wide,  the  higli 
nave  separated  from  the  aisles  by  five 
round  arches  on  each  side  springing  from 
square  jiiers,  with  half  columns  on  three 
sides,  while  on  the  faces  toward  the  nave 
vaulting  shafts  were  added,  although  the 
nave  remains  ceiled  with  wood.  Over  the 
arcades  runs  a  decorated  string-course  on 
strong  sculptured  corbels,  on  which  is  a 
range  of  grouped  windows  divided  by  col- 
umns and  covered  by  a  flat  elliptical  bear- 
ing-arch, evidently  to  light  an  upper  aisle 
whicli  does  not  now  exist.  Above  is  a 
range  of  smaller  single  clerestory  windows 
blocked  up.  The  aisles  are  groined  in 
square  bays  separated  by  transverse  arches, 
■md  from  each  bay  opens  a  shallow  rectan- 
gular chapel,  also  groiued.  The  broad 
transept  has  a  wooden  ceiling  like  the 
nave,  and  crosses  the  whole  church  in 
three  equal  bays,  with  three  eastern  apses. 
The  facade  is  of  unusual  outline,  the  cen- 
tral nave  gable  being  very  narrow  in  pro- 
portion to  the  rest,  and  the  half  gables 
covering  both  aisles  and  chapels.  There 
are  three  doors,  under  three  Ijlind  arches, 
an  ellipse  between  two  pointed  arches. 
The  middle  door  has  a  broad,  heavy  round 
arch,  with  flanking  columns  staiuling  on 
the  backs  of  lions  and  bearing  griffins, 
and    is   surrounded    by   four    sculptured 


bands  of  more  or  less  Byzantine  character. 
The  nave  gable  is  filled  by  a  large  aiul 
fine  wheel  window,  over  which  is  a  round- 
headed  niche  containing  a  seated  figure, 
and  beneath  is  a  two-liglit  window  en- 
closed by  a  round  bearing -arch.  The 
cathedral  is  the  rebuilding,  begun  in  lOGO 
and  finished  in  1110,  of  an  older  church 
dating  probably  from  the  end  of  the  viii 
centurv. 
KUWEIIIA,  Xorthern  Syria. 

The  Chukch.  probably  of  the  vi  cent., 
is  curiously  different  from  the  usual 
Syrian  type.  It  stands  apart  in  a  walled 
enclosure  like  a  peribolos,  some  185  ft.  by 
220  ft.,  and  is  of  considerable  size,  being 
1.50  ft.  long  and  00  ft.  wide.  It  has  an 
open  uarthex  or  i)orch,  entered  by  a  very 
broad  central  arch  between  two  small 
ones,  a  nave  and  aisles,  and  an  apsidal 
sanctuary  between  two  chambers,  as  usual 
in  Syria,  covered  by  a  straight  wall.  The 
nave,  of  30  ft.  s23an  and  100  ft.  long,  is  in 
only  three  bays,  with  great  arches  boi'ne 
on  j)iers  which  are  bound  together  in 
pairs  by  two  other  great  arches  .sjiringing 
across  the  nave,  as  in  S.  Miniato  at  Flor- 
ence, and  some  other  Italian  churches,  and 
resting  on  fluted  pilasters  against  the 
sides  of  the  piers.  On  each  flank  are  two 
doors  into  the  aisle,  covered  by  porches 
which  rest  on  j^airs  of  columns.  There 
are  two  interesting  tombs  in  tlie  enclos- 
ure. One  is  a  square  building  containing 
a  square  chamber  with  arcosolia  on  each 
side,  through  one  of  which  it  is  entered, 
and  covered  with  a  sjiherical  dome.  Over 
the  door  is  a  porch  standing  on  two  de- 
tached columns,  and  Corinthianesquo  pi- 
lasters mark  the  corners  of  the  building. 
The  other  tomb  is  a  small  temple  with  a 
recessed  portico  of  two  columns  in  an/is. 
It  stands  on  a  high  basement,  and  is  in 
two  stories. 
SAGALASSOS  (Aglasoun),  Asia  Minor. 

CoRiSTHiAX  Temple,  within  a  large 
enclosure  bordered  with  porticoes  and 
exedras.     The  temple  is  peripteral,  hexa- 


SALERXO 


style,  witli  eleven  eolumiis  on  the  flunks, 
raised  on  a  basement,  and  witli  fonr  steps 
between  projecting  piers  in  front.  There 
was  a  second  row  of  cohimns  before  the 
pronaos,  which  has  two  colnmns  in  coif  is 
and  is  very  deep,  the  front  wall  of  the 
comparatively  small  cella  being  placed  op- 
posite the  two  middle  columns  of  the  peri- 
style. The  decoration  is  rich  and  well 
executed  ;  the  soffits  are  scvilptured  with 
a  scroll-ornament,  and  the  frieze  and  the 
uppermost  member  of  the  cornice  with 
spiral  foliage-patterns.  The  cornice  has 
lion-heads  for  water-sjiouts.  The  temple 
measures  in  2>lan  5I5  ft.  by  94  ft. 

Theatre,  supported  against  the  hill- 
side, but  in  large  part  built  up  with 
vaulted  substructions.  The  plan  is  much 
greater  than  a  semicircle.  There  is  one 
precinction  or  horizontal  passage,  with 
twenty-four  tiers  of  seats  below  it,  and 
sixteen  above  it,  and  a  podium  on  its  in- 
ner side,  in  the  Roman  fashion.  There 
are  nine  radial  stairways,  in- 
cluding those  at  the  extremities, 
in  the  lower  division.  They  are 
doubled  in  the  np^Der  division, 
but  not  continuous.  There  was 
probably  a  portico  above  the  up- 
jier  division.  The  stage-structure 
formed  a  long,  narrow  hall  with 
five  doors,  only  three  of  which 
appear  to  have  opened  on  the 
stage.  The  depth  of  the  stage 
was  24  ft.  The  diameter  of  the 
theatre  is  288  ft. ,  that  of  the  or- 
chestra 75  ft.  The  remains  are 
in  comparatively  excellent  jn'es- 
ervation. 

There  are  other  remains  of 
much  importance  on  the  site,  in- 
cluding a  palaestra  (?),  a  small  circular 
temple,  a  street  bordered  with  porticoes 
and  spanned  by  a  monumentid  struct- 
ure at  its  intersection  with  another 
street,  and  several  necropolises,  'i'liere 
are  scanty  remains  of  the  ancient  tortiti- 
cations. 


SALERXO.  Italy. 

The  Cathedral,  originally  dedicated 
to  the  Virgin  but  afterward  to  St.  Mat- 
thew, whose  body  is  said  to  have  been 
brought  here  in  934,  is  a  fine  xi  cent, 
church,  consecrated  in  1084,  which  was, 
however,  so  changed  by  a  practical  re- 
building in  the  xviii  cent.,  that  much  of 
its  interest  has  disappeared.  The  great 
quadrangular  fore-court  which  precedes 
the  church  is  preserved.  It  measures 
about  113  ft.  by  102  ft.  and  is  surrounded 
by  vaulted  arcades,  with  round  arches 
sujjported  on  ancient  columns  of  various 
kinds  of  marble,  taken  partly  from  the 
ruins  of  P;¥stum  and  partly  from  those  of 
Rome.  Behind  the  eastern  arcade  rises 
the  plain  fagade,  with  a  low  pediment  in 
the  centre  and  half  gables  at  the  sides. 
Under  the  arcade  three  doorways  give  ac- 
cess to  the  nave  and  aisles,  the  middle  one 
closed  by  fine  bronze  doors  from  Constan- 
tinople, given  to  the  churcli  in  1099.     A 


Fig.  ;05.     Sa'ein,~    Cilnedal   Pjlpit. 

square  tower  rises  on  the  south  side  of  the 
church,  in  .several  stages,  the  lower  of 
which  belong  to  the  early  construction, 
perhaps  dating  from  1130.  The  interior 
consists  of  nave  and  aisles  of  seven  bays, 
and  transept,  aiul  three  eastern  apses.  In 
1T22   square   piers   replaced    the   original 


SALONA 


columns,  and  the  interior  was  travestied. 
The  crypt  is  remarkable  for  the  richness 
of  its  decoration  ;  the  vaults,  supported 
on  square  piers  whose  faces  are  inlaid  with 
precious  marbles,  are  covered  with  paint- 
ings of  figure  subjects,  and  the  walls  with 
arabesques.  It  consists  of  three  aisles,  of 
eight  bays  each  and  three  apses,  under- 
lying the  transept  and  choir.  {See  Fig. 
205.) 
SALOXA,  Dalmatia. 

Basilica.  A  Christian  church  of  the 
V  or  VI  cent.,  ruined  at  the  destruction  of 
Salona  in  039,  and  only  recently  exp)lored. 
Its  2)lan  is  somewhat  peculiar  and  not 
wholly  intelligible.  On  the  west  was  a 
narthex,  and  behind  it  a  wide  uave  and 
aisles  divided  by  arcades  of  nine  arches, 
the  columns  of  which  stood  on  a  continu- 
ous stylobate.  The  nave  and  aisles  abut- 
ted eastward  against  a  thick  wall,  jjierced 
with  five  doors  which  led  into  a  sort  of 
transept  with  an  eastern  ajise.  On  tlie 
north  side  of  the  church  was  another  aisle 
running  the  whole  length,  and  opening 
by  triple  arches  into  two  apsidal  chapels. 
Remains  of  similar  chapels  are  found  in 
continuation  toward  the  east,  beyond  the 
main  church.  In  these  chapels  were 
found  many  fine  sarcoijhagi,  of  which  the 
most  important  are  now  in  the  museum  of 
Spalato.  A  small  chamber  in  the  eastern 
transef)t  had  a  sejiulchral  vault  beneath, 
with  an  outside  entrance  closed  by  a  slid- 
ing stone  door.  Many  tombs  like  this  are 
in  and  about  the  site  of  the  basilica,  and 
the  excavations  below  the  floor  level  have 
revealed  a  great  number  of  sarcophagi  and 
some  older  foundations,  showing  that  the 
church  was  built  upon  an  old  Christian 
burying-ground  and  on  the  site  of  some 
more  ancient  building.  The  sculptured 
ornament  found  seems  to  jirove  it  to  be 
not  older  than  the  age  of  Justinian. 

An  OcTAGOXAL  Structl-re,  surrounded 
by  a  peristyle,  the  bases  of  whose  columns 
remain  in  place,  and  enclosing  a  basin, 
is  held  to    be  a  part  of  the   thermie.     A 


little  beyond  lie  the  remains  of  another 
building  also  with  columns.  The  mosaic 
jiavement  is  intact,  and  the  sills  of  the 
doors  are  still  in  position. 

The  Roman  Walls  of  the  city  can  be 
followed  through  much  of  their  extent. 
There  are  two  ancient  gateways  flanked  l)y 
towers,  and  other  towers  are  found  alons: 
the  circuit.  On  the  west  side  long  walls 
extend  for  over  a  mile  on  the  road  toward 
Trail  ;  they  evidently  Joined  the  city  orig- 
inally with  some  port  having  deeper  water 
than  that  of  Salona.  They  are  built  of 
very  large  blocks,  rectangular  and  care- 
fully Jointed,  but  rough  faced.  In  the 
N.  E.  corner  of  the  western  jiart  of  the 
ancient  city,  in  part  engaged  in  the  forti- 
fication-wall between  it  and  the  eastern 
part,  are  the  remains  of  a  Roman  amj^hi- 
theatre,  presenting  the  usual  features. 
The  structure  is  surrounded  in  the  base- 
ment by  a  corridor,  to  which  access  is  af- 
forded by  several  arched  openings.  Most 
of  the  seats  have  been  carried  away.  To 
the  right  of  the  road  from  Spalato  ai'e 
seen  the  remains  of  the  aqueduct  which 
brought  water  to  the  palace  of  Diocle- 
tian ;  it  has  been  repaired  and  still  serves. 
An  ancient  bridge  on  this  same  road, 
crosses  the  Giadro  (ancient  lader). 
SALOKICA  (Saloniki,  Thessalonica), 
Turkey. 

Apostles'  CiirRcii.  This  is  in  plan 
essentially  like  its  neighbor  Sta.  Sofia 
(17.  v.),  though  much  later  in  date,  but  its 
central  dome  is  carried  on  columns  instead 
of  piers,  and  its  aisles  are  in  one  stor3\ 
Tiie  original  narthex  remains,  however, 
crossing  the  front  as  an  of)en  porch  with  a 
singular  triple  arch  on  each  side  the  cen- 
tral door.  The  central  dome,  of  52  ft. 
span,  stands  on  a  tall  octagonal  drum, 
arcaded  on  the  outside  and  windowed. 
Similar  smaller  domes  rise  over  the  cor- 
ners, and  the  Turks  have  added  a  slender 
minaret.  The  style  is  that  of  the  vii 
cent.,  or  later. 

The  IxcAXTADA,  so-called,  is  a  Corin- 


SALONICA 


tliian  inotmiiicnt  of  iinccrtain  purpose. 
It  has  been  variously  explained,  as  a  monu- 
ment of  victory,  as  the  entrance  to  a 
theatre,  liippodrome.  or  fornni,  as  part  of 


Fig.  206— Salonica,  St.  Demetrius. 

a  basilica  like  the  so-called  Tutclles  at 
Bordeaux,  and  as  a  funeral  monument  like 
the  mausoleum  at  Mylasa.  Local  tradi- 
tion calls  it  a  gallery  which  connected  two 
palaces  of  Alexander,  and  ascribes  its  con- 
struction  to   magic,    wlience   its  Spanish 


design  and  execution  of  the  reliefs  and 
details  are  so  good  that  it  cannot  be  later 
than  the  age  of  the  Antonincs,  193  a.d. 
St.  B.iRDiAS  is  a  little  abandoned  brick 
church,  built,  according  to  an  in- 
scription, in  937,  on  the  common 
Byzantine  plan  of  a  Greek  cross 
set  in  a  square,  with  barrel- 
vaulted  arms,  a  central  dome  on 
four  columns,  and  four  small 
ones  in  the  angles.  The  main 
dome  has  a  windowed  drum,  oc- 
tagonal without :  there  are  three 
eastern  apses,  tlie  middle  one 
octagonal  outside,  and  a  narthex, 
of  which  the  high  upper  story 
probablv  served  as  a  women's  gal- 
lery. 

St.  Demetrius,  now  a  mosque, 
is  a  very  early  five-aisled  basilica, 
dating  from  the  v  or  vi  cent., 
and  on  a  large  scale,  being  very 
nearly  200  ft.  long  by  140  ft. 
wide.  It  has  practically  no  ex- 
terior, but  is  hemmed  in  by  the 
buildings  about  it.  A  cramped 
court,  replacing  the  old  atrium, 
and  containing  a  basin  for  ablu- 
tions under  an  octagonal  canopy. 
Iciids  to  a  high  narthex  tliat 
o]K'ns  by  a  triple  arch  into  the 
west  end  of  the  nave.  On  the 
left  of  the  narthex,  in  a  small, 
square,  crypt -like,  and  dome- 
covered  chamber,  is  the  plain  brick 
tomb  of  St,  Demetrius,  the  so-called 
Myroblete,  from  whose  body  flowed  the 
miraculous  oil  that  has  saturated  the  walls 
and  floor  of  the  cluimlier.  The  lining  of 
marbles,  and  the  ornaments  of  gold  and 


name  (Las  Incantadas).     The  remains  are     silver  set  with  precious  stones,  that  once 


in  the  Jewish  quarter  of  tlie  city,  and  con- 
sist of  five  monolithic  Corintliian  columns 
of  cipollino  with  an  entablature  of  Pentelic 
marble.  The  frieze  is  bulging  and  carved 
with  rods ;  the  cornice  has  Ionic  dentils. 
and  above  it  there  is  an  attic  adoi-ucd 
with   a   series  of   standing  figures.     The 


made  the  place  splendid,  are  gone.  The 
nave,  almost  40  ft.  wide,  has  an  open- 
timbered  roof  about  70  ft.  high  to  the 
ridge.  It  is  bordered  on  each  side  by 
thirteen  round  arches,  borne  on  compos- 
ite columns,  and  peculiarly  arranged  in 
tliree  groups  of  four,  five,  and  four,  sepa- 


440 


SALOXICA 


rated  by  square  piers.  If  tliis  arrange- 
ment is  original,  it  is  jierhaps  the  earliest 
known  example  of  the  grouping  of  nave- 
arehes,  and  may  have  led  the  way  to  the 
system  of  double  bays  in  the  Lombard 
churches.  It  has  been  assumed  to  be  an 
accident  here,  due  to  successive  lengthen- 
ings of  the  church,  but  it  is  absolutely 
symmetrical,  and  has  all  the  apiDearance 
of  studied  design.  Over  the  main  arcade 
is  a  second,  carried  on  Ionic  columns,  and 
opening  into  an  upper  women's  gallery, 
or  (jynecwum,  over  the  inner  aisles,  which 
connects  with  the  second  story  of  the  nar- 
thex.  Above  the  two  is  a  clerestory  of 
low  arched  window?,  grouped  in  twos, 
with  intermediate  shafts.  The  walls  have 
been  revetted  with  marble,  perhaps  in  the 
XI  cent.,  somewhat  in  the  fasliion  of  the 
cathedral  at  Pisa,  and  a  curious  simula- 
tion in  mosaic  of  a  modillion  cornice  is 
carried  along  above  the  lower  arcade.  A 
balustrade  of  carved  marble  panels  fills 
the  intervals  of  the  upper  columns.     Tim 


like  the  protliesis  and  diaconicon  of  the 
early  eastern  churches,  but  enclosed  by 
open  arcades  instead  of  walls.  The 
screens,  however,  wliich  divide  them  from 
the  choir  have  evidently  been  added  or 
altered  in  the  middle  ages.  All  the  col- 
umns are  monoliths  of  white,  red,  or 
green  marble,  the  capitals  are  admii-ably 
cut,  and  all  carry  stilt-blocks,  which  are 
marked  with  the  monogram  of  Christ,  or 
with  the  cross.  The  mosaics  which  once 
covered  the  conch  of  the  aj)se  have  dis- 
appeared, and  the  marble  lining  of  the 
church  has  suffered  much.  The  building 
is  said  to  have  been  further  injured  by  a 
recent  fire.     {See  Fig.  206.) 

St.  Elias  is  a  Byzantine  church  of  pe- 
culiar plan,  built  apparently  at  the  be- 
ginning of  the  XI  century.  It  is  a  cross 
with  short  arms,  three  of  them  with  apsi- 
dal  ends,  and  a  single  central  dome.  Be- 
fore the  western  end  is  a  great  narthex,  as 
broad  as  nave  and  transept,  and  2o  ft. 
deep,   vaulted  in  six   bays  with  four  de- 


Fig.  207.^Salonica,  St.  George. 


outer  aisle,  lower  and  broader  than  the 
inner,  is  like  it  divided  into  two  stories. 
At  the  east  end  is  a  domed  apse,  and  in- 
stead of  a  transept  are  two  rooms  placed 


tached  columns.  Over  this  hall  is  an 
upper  tribune  half  as  deep  as  the  hall, 
and  perhaps  a  women's  gallery  (though  it 
has  been  thought  that  only  men  frequent- 


441 


SALONICA 


ed  the  cliiirclics  of  St.  Elias),  its  front  wall  the  .square  is  surrounded  ou  three  sides  by 

resting  on  the  vault  l)eneath.     The  dome  a  wide  aisle,  whose  second  story  is  a  wom- 

is  ou  a  very  high  tlruin.  polygonal  with-  en's  gallery,  enclosing  the  nave  and  tran- 

out,  arcaded  and  windowetl,  and  is  cov-  sejit  in  an  outer  square  of  100  ft.     Two 

cred   by   a  low   pointed   and    corrugated  small    rooms,    the    usual    prothesis    and 

roof  ;    the   three   apsidal    ends   are    also  diaconieon,  flank  the  main  ajise,  and  both 


polygonal  without  and  windowed.  The 
church  is  of  brick,  with  bands  of  lozenge 
and  meanders.  The  whole  church  is  about 
50  ft.  by  90  ft.,  and  the  dome  65  ft.  high. 

St.  George,  called  the  Rotunda,  and 
now  used  as  a  mosque,  is  a  massive  eai-ly 
round  church,  about  80  ft.  in  diameter  in- 
side, and  with  walls  nearly  20  ft.  thick. 
It  is  covered  by  a  hemispherical  dome, 
rising  to  8(3  ft.  above  the  floor.  In  the 
thickness  of  the  walls  are  eight  square 
niches,  those  on  the  south  and  west  serving 
as  entrance  jiorches,  the  rest  as  chapels, 
excejit  the  eastern,  which  is  larger  than  the 
rest,  and,  piercing  the  wall,  is  continued 
into  a  deep  sanctuary,  or  bema,  ending  in 
a  round  apse  lighted  by  five  windows. 
Eight  windows  over  the  niches  light  the 
building,  and  above  them  tlie  wall,  dimin- 
ished one-half  in  thickness,  is  carried  up 
as  high  as  the  top  of  the  dome,  and  bears 
a  conical  roof.  The  whole  is  severely 
plain,  within  and  without,  exccjit  that  the 
dome  and  the  barrel-vaulting  of  the  niches 
retain  in  great  part  their  splendid  lining 
of  mosaics,  representing  figures  of  saints 
and  architectural  backgrounds.  The  date 
of  the  church  is  uncertain  ;  it  has  been 
assigned  to  the  iv,  vi,  and  vii  cents.,  and 
was  even  believed  for  a  time  to  have  been 
a  Roman  temple.     {See  Fi<j.  ,207.) 

Sta.  Sofia,  the  former  cathedral,  now 
a  mosque,  was  built,  according  to  the 
Greek  tradition,  by  Justinian,  in  imita- 
tion of  its  namesake  at  Constantinople,  to 
which,  however,  it  has  no  resemblance 
except  in  style,  being  in  plan  a  Latin 
cross  enclosed  in  a  square,  with  a  central 
dome  borne  on  piers  and  a  long  eastern 
limb  containing  the  sanctuary,  and  ending 
in  an  apse  round  within  and  semi-octag- 
onal without.     The  transept  is  short,  and 


end  in  round  apses.  Arcades  in  two 
stories,  with  columns  quasi  -  Corinthian 
below  and  quasi-Ionic  with  high  stilt- 
blocks  above,  divide  the  aisle  from  the 
centre.  The  dome  and  the  main  apse  still 
preserve  their  original  mosaics  on  a  gold 
ground,  well  executed  comjjositious  repre- 
senting the  Saviour,  the  Virgin,  and  the 
twelve  apostles.  The  Turks  have  built  an 
ojien  23orch  across  the  front,  with  pointed 
arches  ou  modern  columns  ;  it  is  flanked 
on  the  south  Ijy  a  minaret,  and  on  the 
north  by  a  small  bell-tower  of  uncertain 
date.  A  pulpit  of  verd-antique  in  the 
church  is  reputed  to  have  been  used  by 
St.  Paul.  The  building  has  been  serious- 
ly injured  by  fire  within  a  year  or  two. 

Tru'mphal  Arch  of  Coxstaxtixe, 
half  ruined,  but  described  as  one  of  the 
most  remarkable  ancient  monuments  sur- 
viving in  the  Orient.  It  is  near  the  east- 
ern end  of  the  long  street  which  inter- 
sects the  city  from  east  to  west,  and  pre- 
serves the  line  of  the  Roman  Via  Ignatia. 
It  is  of  brick  encrusted  with  marlilc.  an-d 
consisted  originally  of  three  doorways.  It 
is  oriuimentcd  with  sculjiture  in  which 
camels  figure,  and  is  believed  to  commem- 
orate Oonstantine's  victory  over  Licinius 
or  over  the  Sarmatians. 

X'audXr  Gate,  a  Roman  triumphal 
arch  at  the  west  end  of  the  long  stri'ct 
which  intersects  the  city.  It  is  built  of 
largo  blocks  of  marble  with  reliefs  on  its 
outside  face,  and  an  inscription  giving  the 
names  of  city  magistrates.  The  ojicning 
is  now  VZ  ft.  wide  and  IS  ft.  high  ;  but  a 
considerable  part  of  the  monument  is 
buried.  Some  scholars  have  maintained 
that  this  arch  was  erected  \n  honor  of 
Octavius  and  Antony  after  the  battle  of 
I'hilippi.  but  it  is  evidently  later. 


s  a:\iaria 


SA.MAUIA.     See  Sekisfe. 
SAMOS,  ^geau  Sea. 

Tlie  AyuEDTCT  of  Eipalinos  was  con- 
sidered by  Herodotus  to  be  one  of  tlie 
greatest  of  Greek  works.  It  begins  at  a 
point  N.  W.  of  old  Samos,  where  now 
stand  tliree  small  chajiels  ealled  the  llagi- 
ades,  and  a  copious  sjjriug  still  flows  from 
the  rock.  It  has  been  traced  from  an  an- 
cient reservoir  under  one  of  the  chapels 
for  about  7,300  ft.,  into  the  heart  of  the 
old  town,  and  probably  extended  to  the 
shore  of  the  port,  near  which  in  the  agora 
there  were  in  ancient  times  three  note- 
worthy water-clocks.  The  most  remark- 
able part  of  the  aqueduct  is  the  tunnel, 
which  extends  for  over  3,000  ft.,  for  the 
most  f)art  through  solid  rock,  under  the 
hill,  739  ft.  high,  now  called  Kastro.  This 
averages  6  ft.  sqiuire  ;  it  was  bored  from 
both  ends  simultaneously,  as  is  shown  by 
the  slight  fault  at  the  meeting,  a  little 
south  of  the  middle,  of  the  two  portions. 
But  for  this  defect,  tlie  tunnel  is  jierfect- 
ly  straight.  Through  it  extends  a  chan- 
nel about  2  ft.  wide,  increasing  in  depth 
from  6  in.  to  about  27  in.  at  its  exit,  and 
evidently  cut  to  secure  a  better  fall  for  the 
water.  In  it  are  still  abundant  remains 
of  the  earthen  water-pijies,  of  which  two 
kinds  were  used  —  one  cylindrical,  the 
other  an  open  trough.  Several  weak  por- 
tions of  the  tunnel  are  encased  in  walls  of 
Hellenic  masonry,  and  roofed  by  stones  in- 
clined against  one  another  ;  other  such 
portions  were  walled  uj)  by  the  Romans 
with  masonry  laid  in  mortar,  and  arched 
over.  The  engineer  of  this  great  work  was 
Eupalinos  of  Alegara  ;  it  was  carried  out 
by  King  Polycrates,  who  died  522  B.C.  It 
is  liojied  tluit  the  aqueduct  may  soon  be 
repaired  entirely  and  perform  anew  its  old 
function  of  carrying  fresh  water  to  the 
port. 

The  Herael-m.  or  Temple  of  Ilera,  was 
about  two  miles  S.  W.  of  the  city  of 
Samos,  on  a  height  overlooking  the  sea. 
The  original  structure,  built  by  Rhcecus 


(who  as  early  as  the  vii  cent.  B.C.  was  at 
the  head  of  a  famous  school  of  sculpture 
and  architecture  at  Samos),  and  by  his 
son,  Theodorus,  was  burned  by  the  Per- 
sians, but  was  rebuilt  probably  under  Poly- 
crates, in  the  vi  century  b.c.  This  was 
the  largest  temple  known  to  Herodotus. 
It  was  Ionic,  decastyle,  dipteral,  of  white 
marble  in  the  superstructure,  with  foun- 
dations of  tufa.  As  the  solitary  column 
still  standing  is  not  fluted,  the  temple 
was  probably  never  finished.  The  excava- 
tions of  M.  Girard  upon  the  site,  in  1879, 
disclosed  a  number  of  bases  of  columns 
and  portions  of  the  foundation.  While 
his  investigations  have  shown  the  incor- 
rectness of  the  plans  of  the  temiile  given 
by  his  jiredecessors,  they  were  not  carried 
far  enough  to  supply  data  for  a  correct 
plan. 
SAMOTHRACE,  ^geau  Sea. 

Doric  Temple,  of  marble,  of  Hellenis- 
tic date,  and  in  several  ways  anomalous  in 
plan.  It  was  hexastyle,  prostyle,  with  a 
prostasis  of  three  columns  on  the  sides,  on 
a  stylobate  of  tliree  steps,  before  the  pro- 
naos.  The  prostasis  had  an  interior  range 
of  columns  opposite  the  third  columns  of 
the  flanks.  The  steps  were  not  continued 
around  the  cella.  In  plan  the  temple  was 
abnormally  long  and  narrow.  The  total 
length  was  120  ft.  ;  widtli  of  cella,  43  ft.  ; 
width  of  prostasis,  including  steps,  -I'g 
ft.  ;  interior  dimensions  of  cella,  3-lrf  ft. 
by  85  ft.  The  foundations  remain  of  two 
partition  walls  extending  Ijack  5-1  ft.  from 
the  front  wall,  and  dividing  the  cella  into 
nave  and  aisles  ;  no  remains  have  been 
found  of  ranges  of  columns  wliicli  could 
have  stood  on  these  foundations.  Though 
the  cella  ends  exteriudly  in  a  square  back 
wall,  it  is  curved  inside  in  the  form  of  a 
shallow  apse.  The  projiortions  of  the 
architectural  members  are  notably  slight. 
akin  to  those  of  the  temple  at  Xcmea,  and 
approaching  those  of  the  Corinthian  or- 
der. The  height  of  the  columns  is  about 
six    and    a   half   diameters,    the   entabla- 


443 


SAX  BENEDETTO 


jiro- 
Thu 


tnro  low.  the  podimont  high.  'I'hi 
file  lit'  tlio  ciipitiils  is  a  straight  line, 
cynia  of  tlie  cornice  is  ornamented  with  a 
spiral  acanthus  moulding,  and  with  lion- 
head  water-spouts.  An  elaborate  antho- 
mion  arrotcriuni  stood  on  the  apex  of  the 
pediment .  and  X'ictories  formed  the  aero- 
teria  at  the  sides.  Several  figures  of  the 
pediment-sculjjtures  have  been  recovered. 
The  execution  is  good. 

Old  Temple,  so-called,  an  Ionic  struct- 
nre  of  which  only  portions  of  the  foun- 
dations remain  in  place.  The  reliefs  of 
the  frieze,  representing  dancing  female 
figures,  are  in  the  Louvre.  The  cornice 
had  dentils,  and  tlie  cynia  was  orna- 
mented with  lion  heads  and  antliemia,  and 
crowned  with  antefixes  in  the  form  (jf 
palmettes. 

PuoPYLOX  OF  Ptolemy  II.,  a  double 
hexastyle  Ionic  jiortico  of  large-grained 
white  marble  from  Tliasos.     The  columns 


terior  forty-four  Corinthian  semi-columns 
corresponded  to  the  exterior  piers,  and 
the  barriers  were  ornamented  in  alternate 
intercolumniations  with  patera;  and  bu- 
riMiiia.  The  workmanship  is  good,  but 
the  proportions  are  sometimes  defective, 
and  the  ornament  lacks  the  freedom  of 
the  best  work. 

There  is  a  large  temple  of  late  Doric 
style,  j)rostyle,  with  six  columns  iu  front 
and  three  on  the  sides,  and  two  columns 
with  a  double  intercolumniation  between 
them,  between  the  antm  of  the  cella. 

The  Walls  of  the  ancient  city  are  a 
notable  cxanijile  of  polygonal  masonry  in 
very  large,  rough  blocks  with  open  joints. 
The  wall,  originally  about  18  ft.  high  and 
7  ft.  to  13  ft.  thick,  is  broken  into  angles 
for  the  sake  of  defence.  Of  three  gates 
which  remain  recognizable  iu  a  course  of 
over  half  a  mile,  one  is  complete  ;  it  is 
spanned  by  blocks  projecting  horizontally 


have  twenty-four  flutes  ;  the  architrave  is  from  the  sides.  The  wall  is  doubtless 
high  and  the  frieze  ornamented  with  very  early,  as  is  indicated  not  only  by  its 
bucrania  and  ro.settes,  comparatively  low.      construction,  but  by  the  circumstance  that 


The  dentils  of  the  cornice  are  proportion- 
ately large,  and  the  pediments  W'ere  of 
very  low  angle. 

Round  Temple,  dedicated  by  Queen 
Arsinoii,  daughter  of  the  first  Ptolemy, 
and  wife  of  the  second.  The  foundation 
is  solidly  bnilt  of  well-fitted  blocks  of 
common  stone,  and  is  8J  ft.  through. 
The  superstructure  was  of  nuirble,  with  a 
diameter  ctf  I'ri  ft.  The  building  consisted 
of  a  drum  of  masonry  of  uncertain  height, 
npon  which  stood  forty-four  s(piare  piers, 
with  auta-ca])itals,  supporting  a  Doric  en- 
tablature, tbe  cyma  bearing  acanthus 
spirals  and  lion  heads.  A  moulded  frieze 
surrounded  the  building  beneath  the  piers, 
and  in  every  intercolumniation  was  a 
barrier  carved  with  a  rosette  between  two 
bucraui;!.  and  above  this  a  heavy  slab  of 
marble.  It  is  uiu'crtain  whether  there 
were  windows  in  this.  The  wooden  roof 
was  conical,  and  may  have  had  an  open- 
ing  for   light   at  the   apex.     Jn    the    in- 


the  chief  buildings  of  Samothrace  lie  out- 
side of  it. 

SAN  BENEDETTO,  near  ilantua, 
Italy. 
The  CiiUKCH  is  a  great  cruciform  struct- 
ure, built,  or  remodelled,  by  Giulio  Ro- 
mano in  1539.  Its  interior  is  interesting, 
and  has  a  long  nave  and  aisles,  transept, 
jipsidal  choir,  and  surrounding  aisle,  with 
five  radiating  chapels,  a  border  of  lateral 
chapels  on  each  side,  and  an  open  vaulted 
porch  across  the  front.  The  whole  is 
about  32.5  ft.  long,  and  130  ft.  across  the 
transept.  An  octagonal  dome  covers  the 
crossing.  The  groined  nave-vault  is  car- 
ried on  piers  faced  with  an  order  of  pi- 
lasters. The  vaults  of  the  S(iuare  bays  of 
nave  and  aisles  are  singularly  arranged. 
In  the  first  three  bays  the  so-called 
I'alladian  motive  is  repeated — an  arch 
between  two  .square  -  headed  openings, 
with  dividing  columns.  The  aisle-bays, 
half  as    long  as    those   of    the    nave,   are 


SAN  GALGANO 


in  a  curious  alternation  with  llieui.  and 
are  alternately  groined  and  barrel-vaultrd, 
closing  with  a  half  bay  at  each  end. 
SAX  GALGAXO,  near  JSiena,  Italy. 

The  Abbey  Church,  of  the  xiii  cent., 
was  one  of  the  most  characteristic  Gothic 
churches  in  Italy.  It  is  roofless,  and  the 
vaults  mostly  fallen,  but  the  walls  are 
wi-11  jn'eserved.  The  abbey  was  Cistercian, 
a  dependent  of  Casamari,  and  the  church, 
like  those  of  Fossanova  and  Casamari,  is 
of  the  French  type.  It  is  cruciform,  with 
a  square-ended  choir  of  one  bay,  and  aisles 
to  both  nave  and  transept.  The  nave  and 
isles,  in  eight  bays,  had  four-part  pointed 
vaults  ;  the  choir  vault  was  six-part.  The 
arches  are  pointed  throughout,  the  abun- 
dant carving  partly  French  and  partly 
Italian.  There  was  no  triforium,  but 
a  clerestory  of  large  traceried  windows, 
and  large  rose-windows  in  the  south  tran- 
sept and  the  east  end.  The  building,  lofty 
and  imposing,  is  mostly  of  Travertine,  but 
the  later  and  upper  parts  in  brick.  The 
front  was  never  finished.  There  is  no  in- 
dication that  it  had  the  usual  Cistercian 
central  tower  ;  a  tower  added  at  the  8.  E. 
corner  of  the  transept  has  fallen. 
SAX  GEMIGXAXO,  Italy. 

The  CoLLEGiATA,  or  PiEVE  (Parish 
Church),  is  a  basilica  of  the  Xii  cent., 
consecrated  in  1148.  Its  arcades  of 
stilted  round  arches  are  carried  on  old 
columns  with  varied  capitals  ;  but  the  in- 
terior was  rebuilt  with  new  vaulting  and 
lengthened  transept  in  the  xv  cent.,  by 
Giuliano  da  Majano,  and  the  church  has 
since  been  much  modernized,  with  the  ad- 
dition of  chapels.  It  is  most  noted  for  its 
interior  decoration  of  frescoes,  especially 
in  the  chapel  of  Sta.  Fina,  where  there 
are  paintings  by  Domenieo  Ghirlandajo, 
Benozzo  Gozzoli,  and  PoUaiolo,  and  a 
finely  sculptured  altar  by  Benedetto  da 
Majano. 

The  Palazzo  Pibblico  dates  from  the 
XIV  century.  It  is  a  Gothic  building  of 
rectangular  plan,  measuring  about  05  ft. 


by  101)  ft.,  with  a  picturesque  interior 
court  from  which  the  open  gallery  on  the 
second  story  is  reached  by  a  stone  stair- 
case, supported  by  a  l)road  segmental  arch 
with  a  fine  wall  under  it.  The  facade  is 
of  brick,  about  10  ft.  high,  and  the  main 
floor  is  reached  by  a  double  flight  of  steps 
from  the  street  under  a  projecting  balcony. 
There  are  four  stories  above  the  basement, 
the  windows  all  covered  by  segmental 
arches,  and  those  of  the  first  story  having  a 
pointed  bearing-arch.  At  the  angle  of  this 
front  stands  a  fine  square  brick  tower 
called  the  Torre  del  Commune,  somewhat 
earlier  than  the  palace,  about  30  ft.  square 
and  IGO  ft.  in  height,  with  an  ojien  arch- 
way at  the  foot  through  which  a  street  is 
carried,  and  small  segmental-arclied  ojsen- 
ings  at  intervals,  but  no  distinct  belfry 
stage.  It  is  finished  with  an  arched  corbel- 
table  and  square  battlements. 
SAX  GERMAXO  (or  CJassino  anc.  Casi- 
num),  Latium,  Italy. 

AiiPHiTHEATRE,  Small  in  size,  but,  so 
far  as  the  exterior  is  concerned,  of  very 
l^erfect  preservation,  built  by  Ummidia 
Quadratilla,  a  woman  lauded  by  Pliny  the 
younger.  It  is  an  imposing  ruin.  The 
walls  are  faced  with  reticulated  masonry, 
and  six  arched  entrances  still  remain. 
The  interior  has  suffered  much  ;  its  area 
is  now  under  cultivation.  One  side  of 
the  structure  was  in  part  supported  by 
the  slope  of  the  mountain.  The  ruins 
are  standing  to  the  height  of  56  ft. 
SAX    GIMIGXAXO.     See    San    Gcmii/- 

nano. 
SAX  LIBEKATORE,  also  known  as  San 
Salvatore,  Italy. 

The  MoxASTERY,  of  uncertain  date, 
mentioned  in  the  ix  cent.,  was  rebuilt, 
including  the  church,  early  in  the  xi  cent- 
ury. The  church  is  a  basilica  with  nave 
and  narrow  aisles  separated  by  seven  arches 
on  each  side,  springing  from  square  piers, 
and  opening  into  a  narrow  transejit  di- 
vided by  two  arches  in  the  line  of  the 
nave  arcades  into  three  bays,  each  with  a 


SAN   MARTINO 


round  apse  in  the  eastern  wall.  All  the 
ceilings  are  of  wood.  The  fa9ade  has  an 
ojien  porch  covering  the  whole  hreadth  of 
the  church,  divided  into  three  vaulted 
bays  corresponding  to  the  nave  and  aisles, 
and  approached  by  a  flight  of  steps  as 
broad  as  the  middle  bay.  A  gallery  is 
over  the  porch,  and  at  its  right  is  a  square 
battlemented  tower  in  several  stages. 
SAN  MARTINO,  near  Viterbo,  Italy. 

The  CiiUKCii  remains  from  a  Cistercian 
abbey  of  the  xm  century.  It  is  cruciform, 
about  225  ft.  long  and  100  ft.  across  the 
transept,  and  has  a  nave  of  four  square 
bays  separated  from  aisles  of  eight  bays 
by  pointed  arcades  carried  on  alternate 
grouped  piers  and  columns,  the  choir, 
of  half  a  bay,  ending  with  a  polygonal 
apse.  The  transept  arms  and  the  choir, 
lower  than  the  nave  which  includes  the 
crossing,  have  six-part  vaulting  ;  all  the 
rest  of  the  vaulting  is  four-part.  A  small 
square  central  tower  is  curiously  balanced 
on  the  diagonal  vaulting-ribs  over  the 
crossing.  There  is  no  triforium,  but  an 
ample  clerestory,  and  all  the  windows, 
those  in  the  aisles  being  exceedingly  small, 
are  round-arched,  excejit  a  small  rose  high 
up  in  the  gable  of  the  south  transept,  and 
a  large  pointed  traceried  window  in  the 
west  front.  This  front  is  simiole,  built  up 
to  a  horizontal  cornice  over  the  original 
gable,  and  has  a  single  round-arched  door 
under  the  traceried  window.  Two  small 
square  towers  flank  it,  with  round-arched 
belfries,  and  low  spires,  or  pyramidal 
roofs  of  stone.  The  choir  is  thought  to 
date  from  the  beginning  of  the  xiii  cent., 
the  body  of  the  church  from  the  middle, 
and  the  fa9ade,  or  its  termination,  from 
the  XIV. 
SAN  MINIATO  AL  TEDESCO,  Italy. 

The  Cathedral,  dedicated  to  Sta. 
Maria  and  S.  Genesio,  is  an  early  Renais- 
sance church,  probably  built  on  the 
foundations  of  an  earlier  basilica,  and 
dates  from  1488.  Its  nave  and  aisles, 
about  100  ft.  long,  are  divided  by  arcades 


of  seven  round  arches  on  each  side,  sup- 
ported on  Ionic  columns,  and  surmounted 
by  an  entablature,  over  wdiicli  is  a  flat 
wall  jjierceil  with  round  windows.  There 
is  a  long  transept  with  a  rectangular  choir 
beyond,  each  arm  extended  into  a  long 
rectangular  chapel,  and  three  square  chap- 
els open  from  each  aisle.  The  ceilings  in 
nave  and  trausejjt  are  flat ;  elsewhere  they 
are  vaulted. 
SAN  PELLINO,  Italy. 

The  Cathedkal  is  a  Gothic  church, 
probably  of  the  xii  cent.,  standing  on  a 
deserted  plain  at  some  distance  from  the 
town,  among  the  ruins  of  the  Roman  city 
of  Corfinium,  from  the  materials  of  which 
the  church  was  built.  It  is  a  cruciform 
basilica  about  135  ft.  long  and  55  ft. 
broad,  with  a  long  nave  separated  from 
the  aisles  by  seven  arches  on  each  side, 
springing  from  square  jiiers.  The  aisles 
are  lighted  by  small  pointed  windows. 
The  raised  transept,  which  is  the  choir, 
projects  slightly  beyond  the  aisle  walls, 
with  an  apse  at  each  end,  and  is  crossed  by 
the  main  arcades.  The  middle  bay  is  cov- 
ered by  an  octagonal  dome.  The  ceilings 
are  all  of  wood.  There  is  a  fine  pulpit  dat- 
ing from  the  latter  part  of  the  xii  cent., 
square,  supported  on  four  stout  columns 
with  composite  caps,  without  arches,  car- 
rying a  delicate  sculptured  frieze  above 
which  the  sides  are  panelled  and  decorated 
in  relief.  The  front  is  modernized  ;  tlie 
flank  walls  both  of  aisles  and  clerestory, 
also  the  apses,  are  divided  by  thin  pilaster 
strips  running  up  to  arched  corbel-tables. 
The  eastern  ajDse  is  encircled  by  two 
ranges  of  engaged  columns,  the  lower 
bearing  a  sculptured  frieze,  the  upper, 
blind  arches  with  reliefs  in  the  heads. 
From  the  south  aisle  opens  a  smaller 
transverse  church,  dedicated  to  St.  Alex- 
ander, G5  ft.  long  and  28  ft.  broad,  with 
an  apse  in  the  eastern  side. 
SAX  PIETRO  IX  GALATINA,  Italy. 

Sta.  Catekixa.     An  old  church  dating 
originally  from   the  xi   cent.,  but  rebuilt 


446 


SAN  EUFO 


witli  iniiiortantehaiigvsofriinii  :il)out  l.'S.SO. 
Its  plan  is  singular  :  a  nave  divided  l)y 
transverse  pointed  arches  into  three  square 
groined  bays,  with  a  blind  pointed  arch 
on  each  side  of  each  bay  rising  to  the 
height  of  the  clerestory,  and  a  narrow 
jiointed  window  in  the  arch  head.  Under 
each  blind  arch  a  low  pointed  arcli  opens 
into  a  narrow  longitudinal  corridor,  out- 
side of  which  is  a  long  undivided  aisle, 
covered  by  a  slightly  pointed  barrel-vault. 
A  square  groined  bay  continuing  those 
of  the  uave  forms  the  choir,  from  which 
opens  on  the  east  an  octagonal  chapel  with 
a  vei-y  high  Gothic  vault,  the  ribs  spring- 
ing from  slender  angle -shafts.  Each 
side  of  the  octagon  has  a  round  window 
high  in  the  wall.  The  front  is  in  two 
stages,  the  lower  of  which  has  a  rich  cen- 
tral doorway  with  deep  jambs,  a  sculptured 
lintel,  and  jjainted  tympanum  under  an 
enclosing  arch  and  gable.  Similar  door- 
ways give  entrance  to  the  two  corridors. 
The  lateral  walls  have  low  gables.  The 
raised  central  -  division  is  covered  by  a 
gable  with  an  arcaded  corbel-table  follow- 
ing the  rake,  and  a  small  wheel-window 
with  decorated  label.  At  the  base  of  the 
galde  on  either  side  is  a  kneeling  figure  ; 
and  Hanking  the  gable  wall  on  each  side 
is  a  high  detached  octagonal  shaft  like  a 
turret,  carrying  a  similar  figure.  The 
sculpture  of  the  church  is  interesting  ;  its 
character  is  strongly  Byzantine.  The  in- 
terior walls  are  covered  with  frescoes  of 
the  early  xv  century. 
SAN  RUFO.  See  Terjgiano. 
SAN  SALVATORE.  See  San  Librralore. 
SANTA  MARIA  D'ARBONA,  Italy. 

The  Church  was  attached  to  a  Cister- 
cian monastery  founded  in  1208  and  peo- 
pled with  monks  from  SS.  Yincenzo  ed 
Anastasio  in  Rome.  It  has  a  cruciform 
plan,  with  a  very  short  nave  in  two  ob- 
long groined  bays  of  unequal  breadth, 
the  very  low  round  arches  sijringing  from 
massive  grouped  piers  with  half-columns 
rising  through  the  clerestory  to  take  the 


spring  of  the  cross  ribs.  The  brick 
vaulting  is  pointed.  The  clerestory  walls 
are  pierced  high  up  with  simple  round- 
arched  windows.  The  aisles,  which  seem 
to  have  been  added  a  half-century  later, 
have  pointed  windows.  The  choir  is  in 
two  oblong  groined  bays  like  those  of  the 
uave,  and  two  narrow  bays  on  each  side  ; 
and  two  deep  chapels  flank  the  transept 
on  each  side.  The  vault  of  the  crossing, 
carried  somewhat  higher  than  the  rest, 
has  a  round  opening  at  the  crown.  The 
facade  is  in  three  divisions  separated  by 
pilaster-strijDS,  with  a  single  doorway  in 
the  centre.  A  horizontal  arched  corbel- 
table  crosses  the  front  at  mid-height. 
SANTA  MARIA  DI  FALLERI  (Roma)i 
Falerii),  Etruria,  Italy. 

The  ancient  Towx-wall  remains  in 
great  part,  with  its  gates  and  towers, 
forming  a  circuit  of  about  7,000  ft.,  and 
interesting  as  one  of  the  best  sjjccimens 
of  Roman  fortification.  The  towers  are 
square  and  project  about  10  ft.,  the  gate- 
ways are  arched,  and  the  masonry  is  regu- 
lar, in  courses  of  large  blocks  presenting  a 
markedly  Etruscan  character.  The  wall 
in  one  place  rises  to  a  height  of  58  ft.,  and 
it  is  one  of  the  most  imposing  examjiles  of 
ancient  fortification  in  Italy. 
SARBAT  EL-KHADIM,  Sinaitic  Penin- 
sula, x\rabia. 

Temple  of  Hatuor,  on  an  elevated 
platform  of  rock.  The  small  gvkos,  the 
most  ancient  part  of  the  temple,  is  excav- 
ated from  the  rock  ;  its  roof  is  supported 
by  a  central  jnllar,  and  portions  of  the 
ancient  painted  decoration  of  hieroglyphs 
and  pictorial  subjects  remain  on  the  walls. 
Beside  the  sekos  is  a  second  chamber 
Avithout  ornament,  and  before  both  ex- 
tends a  portico  of  columns  with  Ilathor 
capitals.  There  is  also  in  connection  with 
the  temple  a  large  building  divided  into 
small  rooms.  In  the  porti(^o  and  in  front 
of  the  temple  are  many  jiyramidal  steles, 
with  liieroglyiihic  inscriptions.  The  whole 
is  enclosed  by  a  wall,  the  .S2)ace  within  be- 


447 


SARDINIA 


ing  about  IGT  ft.  by  GU  ft.  The  sekos 
dates  from  Amenemliat  III.,  the  portico 
from  Thothnies  III.  Tlie  temple  was 
founded  in  connection  with  neighboring 
mines  of  turquoises  and  of  copper. 
SARDINIA,  Mediterranean  Sea. 

The  NuR.\r;ni  consist  of  circular  towers 
of  stone,  in  the  form  of  truncated  cones, 
of  one,  two,  and  pei'haps  occasionally  three 
stories,  having  within  a  circular  chamber 
generally  about  15  ft.  in  diameter,  cov- 
ered in  beehive  form  by  corbelling  out  the 
stones  of  the  wall.  The  chamber,  en- 
tered by  a  very  low  door,  sometimes  has 
smaller  chambers  opening  into  it,  and 
sometimes  one  or  two  small  windows.  The 
masonry,  assembled  without  cement,  is 
sometimes  very  rude,  sometimes  compara- 
tively good,  often,  especially  in  the  lower 
parts,  of  enormous  stones.  The  chief  of 
these  monuments  are  those  of  Zuri,  Nied- 
du,  Losa,  Oes,  Sarecci,  and  Ortu.  Occa- 
sionally, as  at  Ortu,  near  Domus  Novas, 
jirovince  of  Iglesias,  there  is  a  consider- 
able group  of  such  towers,  connected  by 
walls  forming  curtains,  and  surrounding  a 
larger  central  tower,  the  whole  thus  jire- 
senting  mucli  analogy  with  a  medireval 
castle.  The  object  of  the  niiraghi  is  un- 
certain ;  some  archaeologists  hold  that 
they  are  tombs,  but  this  is  improbable,  as 
the  known  tombs  of  ancient  Sardinia  are 
of  very  different  character.  It  is  also  im- 
probable that  they  are  temples.  The  most 
reasonable  hypothesis  is  that  they  are 
places  of  refuge  against  a  sudden  invasion. 
Their  date  is  also  uncertain,  but  it  is  most 
likely  that  they  are  not  of  very  high  an- 
tiquity. They  maybe  paralleled  with  the 
much  smaller  but  very  simihir  structures 
called  tnt(l<lhi,  still  erected  by  the  hus- 
bandmen of  the  Puglie  region  in  southern 
Italy,  as  refuges  against  tlie  weather  or 
temporary  dwellings. 
SARDIs"(Sart),  Ly<lia,  Asia  .Minor. 

Temple  of  Cvbele.  The  east  front  is 
beneath  the  acropolis,  the  west  on  the 
bank  of  the  Pactolus.    The  oriirinal  build- 


ing was  burned  in  the  Ionian  revolt,  iOO 
B.C.  ;  the  present  structure  is  probably  of 
the  time  of  Alexander  the  Great,  iv  century 
B.C.  The  remains  consist  of  two  columns 
of  the  east  front  and  truncated  portions 
of  four  others,  standing  with  many  frag- 
ments on  the  ground.  Peyssomel,  in  a 
drawing  of  1750,  shows  six  columns  and 
i:iart  of  the  celia.  The  columns  are  buried 
to  nearly  one-half  their  height,  but  are  at 
least  58i  ft.  high  and  G^  ft.  in  diameter. 
The  temple  was  built  of  a  coarse  white 
marble,  and  was  Ionic,  octastyle,  dif)teral, 
with  three  ranges  of  columns  on  the  east 
front,  and  two  ranges,  probably  of  seven- 
teen columns,  on  each  flank.  The  ground 
plan  was  3G1  ft.  by  144  ft. 

Theatre,  of  Roman  date.  The  cavea, 
which  is  slightly  greater  than  a  semicircle, 
is  excavated  from  the  nortli  slope  of  the 
acropolis  hill.  There  is  one  precinction, 
or  horizontal  dividing-passage,  and  a  gal- 
lery bordering  the  top  of  the  cavea.  There 
seems  to  be  no  vestige  of  a  stage  struct- 
ure, and  the  theatre  is  curiously  com- 
bined with  the  stadium.  It  is  not  in  a 
good  state  of  preservation.  The  exterior 
diameter  is  about  390  ft.,  that  of  the  or- 
chestra IG'2  ft. 

The  Tomb  of  Alyattes,  near  by,  is  a 
circular  mound  1,180  ft.  in  diameter  above 
its  inwardly  inclined  basement  of  heavy 
masonry.  The  ujiper  portion  of  the 
mound  is  formed  of  alternate  layers  of 
clay,  loam,  and  rubble  concrete,  above 
which  is  a  platform  of  bricks  paved  with 
masonry.  On  the  summit  stood  five  in- 
scribed memorial  steles.  Tlie  height  of 
the  mound  is  142  ft.  Wilhiii  tlic  tumu- 
lus tlie  funeral  chamber  has  Ijeen  found  ; 
it  is  built  of  large  stones,  and  is  11  ft.  by 
8  ft.  in  plan,  and  7  ft.  high,  with  a  flat  roof. 
SEBASTE  (Samaria),  Palestine. 

The  Church  of  St.  John,  imw  half 
ruined  and  converted  into  a  mosque, 
stands,  according  to  tradition,  over  the 
tomb  of  .lohn  the  Baptist,  and  was  one  of 
the  larirest  in  Palestine.     It  is  about  75  ft. 


•14S 


SEBENICO 


b}'  IJU  ft.,  aud  consisted  of  a  nave  and 
aisles  of  four  bays,  a  transept,  and  a  choir 
of  one  bay  beyond,  with  aisles  and  three 
eastern  a2)ses.  The  apses  are  Byzantine 
in  form,  round  within  and  polygonal 
without.  The  aisle  windows  are  round- 
arched,  and  some  details  of  capitals  and 
bases  Romanesque  in  character  ;  in  other 
respects  tlie  style  is  the  French  of  tlie  lat- 
ter half  of  the  xii  century.  The  vaulting 
is  groined  and  ribbed,  the  arches  pointed, 
the  piers  clustered,  the  bays  of  the  nave 
short,  and  of  the  aisles  square,  as  in  the 
western  Gothic  churches.  The  walls,  the 
south  aisle,  south  transept,  and  apse  stand 
entire  ;  the  rest  has  been  pulled  down  and 
serves  for  the  open  court  which  character- 
izes most  mosques.  In  the  middle  a  mod- 
ern dome  covers  the  reputed  tomb  of 
John  the  Baptist,  which  is  in  a  crypt  or 
cave  beneath  the  pavement.  The  tradi- 
tion that  the  saint  was  buried  here  is  very 
old,  and  has  the  authority  of  St.  Jerome. 
A  basilica  over  the  spot  is  mentioned  in 
the  VI  cent.,  but  not  after  the  invasion  of 
Chosroes.  The  present  structure  must 
date  from  before  1187.  Sebaste  was  a 
see  in  the  early  Christian  ages.  The 
bishopric  was  revived  by  the  crusaders, 
aud  again  later,  in  name  at  least,  by  the 
Greek  church. 

On  a  terrace  on  the  south  side  of  a  hill 
is  a  row  of  columns,  which  originally  sur- 
rounded the  hill  and  was  about  3.000  ft. 
long,  witli  which  Herod  the  Great  adorned 
the  town.  The  terrace  is  about  50  ft. 
wide.  The  surviving  columns,  which 
have  lost  tlieir  capitals,  attain  a  height 
of  16  ft.  ;  their  diameter  is  about  C  ft. 
Some  of  the  shafts  are  monolithic.  On  an- 
other terrace  stand  some  twelve  columns, 
without  capitals,  so  arranged  as  to  indi- 
cate a  peristyle  ;  they  probably  belong  to 
the  temple  dedicated  by  Herod  to  Augus- 
tus. There  are  also  remains  of  a  great 
stoa  or  portico,  of  a  forum,  and  of  a 
triumphal  gateway,  ornamented  aiul  for- 
tified witli  round  towers. 


SEBEXICO,  Dalmatia. 

The  Cathedkal  (S.  Giacomo),  dating 
from  the  xv  cent.,  was  begun  in  the 
Gothic  style  and  finished  in  the  Renais- 
sance. It  is  built  wliolly  of  stone,  neither 
brick  nor  timber  being  used  in  its  con- 
struction. The  plan  is  cruciform,  with 
nave  and  aisles  of  six  bays,  a  transept  ex- 
tending only  to  the  aisle  walls,  and  with 
an  octagonal  lantern  and  dome  over  the 
crossing,  and  a  single  bay  to  the  east  of 
the  transept  ending  with  three  jjolvgonal 
apses.  The  nave  arches  are  pointed,  the 
columns  round  monoliths  with  Attic  bases 
and  foliage  capitals  of  Venetian  type. 
The  two  western  piers  of  the  central 
dome,  belonging  to  tlie  Gotliic  j^art  of  the 
church,  are  quatrefoil  in  section  with  cajji- 
tals  of  the  richest  Venetian  foliage.  The 
aisle  bays  are  square,  aud  have  ribbed 
four-iiart  vaults.  Above  the  nave  arches 
runs  a  rich  Gothic  string-course,  over 
which  is  a  triforium  of  flat-topped  open- 
ings divided  by  fluted  pilasters,  aud  a 
clerestory  with  one  arched  window  to  each 
bay.  The  roofs  of  nave  and  transept  are 
cross-ribbed  barrel-vaults,  and  over  the 
triforium  gallery  are  quadrant  or  half- 
barrel  vaults.  These  vaults,  which  show 
as  the  exterior  roofs  behind  curved  gables, 
form  the  distinguishing  feature  of  the 
church.  The  choir  stalls  are  of  stone,  and 
behind  them  the  transejit  is  floored  over 
to  form  galleries,  in  front  of  which  is  a 
marble  balustrade  of  twisted  columns  aud 
round  arches,  carried  partly  round  the 
two  piers  at  the  choir  entrance  to  form 
pulpits.  Outside,  the  Gothic  work  ex- 
tends as  high  as  the  cornice  of  the  aisles. 
The  walls  have  square  buttresses  and  two- 
light  traceried  windows.  At  the  west  end 
and  in  the  north  side  arc  two  fine  door- 
ways, the  northern  one  called  the  Lion 
Door  from  two  flanking  lions  guarding 
it,  fi'om  whose  backs  rise  octagonal  sliafts 
bearing  statues  of  Adam  and  Eve  under 
canopies.  The  west  door  is  similar  in 
stvle  but  richer.     To  the  changes  of  1441 


SEGESTA 


are  due  tlie  choir,  tlie  eastern  end  :md 
apses,  and  the  central  tower,  \yhicli  is 
square  to  the  height  of  the  semicircular . 
nave  roof,  and  there  changes  to  an  octag- 
onal lantern  covered  by  an  octagonal 
cupola  with  crowning  statue.     The  Ian- 


Fig.  208. — Segesta,  Temple. 

tern  has  two  large  windows  in  each  face 
and  is  very  light  in  construction,  being 
tied  with  iron  like  the  nave  vaults.  The 
cupola  and  tlie  vault  have  been  taken 
down  in  the  present  century  and  rebuilt. 
In  the  southern  apse  is  a  fine  baptistery 
of  mixed  Gothic  and  Renaissance  design. 
Beside  it  is  the  sacristy,  a  large  chamber 
raised  on  a  stone  vault  springing  from  the 
wall  of  the  bishoji's  palace  on  one  side,  and 
from  five  columns  on  the  other,  and  form- 
ing an  open  loggia  with  an  entrance  into 
the  l)aptistery.  The  cathedral  was  begun 
in  1-130  under  Antonio  di  Pietro  Paolo  ; 
in  1441  he  was  replaced  by  Giorgio  Orsini, 
Avho  died  in  14T5.  The  church  was  final- 
ly consecrated  in  1555. 
SEGESTA  (anc.  Egesta).  Sicily. 

Gkkek  Tkmi'lk.  about  five  miles  from 
Calatafimi.  on  the  edge  of  a  rocky  gorge 
west  of  the  ancient  city.  It  is  one  of  the 
best  preserved  of  Greek  temples,  though 
it  was  never  finished  ;  all  the  thirty-six 
columns  of  its  peristyle  are  standing,  and 


all  but  one  are  perfect.     It  is  conjectured 
that  the  work  was  interrupted  Ijy  the  capt- 
ure of  the  city  by  the  Carthaginians  in 
409  B.C.     It  lias  been  sought  to  identify 
it  with  the  temple   of  Artemis  (Diana), 
from  which  the  statue  was  taken  to  Car- 
thage ;  but  this  is  prob- 
ably untenable,   as 
when  the  work   was 
stopped  the  temple  can 
hardly  have  reached  a 
sufficiently     advanced 
stage  to  receive  its  cult 
statue,  and  but  scanty 
traces    remain    of   the 
cella.   ItisDoric,  hexa- 
stvle,  with  fourteen 
columns  on  the  flanks 
on  a  stylobate  of  fmir 
steps  ;  in  plan  it  meas- 
ures on  the  lowest  step 
204  ft.  by  88  ft.     T'he 
details  and  the  plan  are 
excellent  and   of    the 
best  time,  and  unfinished  as  it  is,  the  effect 
is  most  imjiressive.    The  material  is  the  lo- 
cal limestone,  which  under  the  influence  of 
time  has  assumed  a  golden-brown  color. 
The  columns,  formed  of  an  unusually  large 
number  (from  ten  to  thirteen)  of  drums, 
were  still  unchannelled  when  the  work  was 
stopped.    The  capitals  are  wide-spreading 
with  three  strongly  marked  annulets,  and  a 
scotia  below.    Their  diameter  at  the  base  is 
G  ft.  2  in.,  at  the  neck,  5  ft.  2  in.;  their 
height  is  30  ft.  3  in.,  the  intercolumniation 
is  14  ft.  2  in.     The  entablature  and  pedi- 
ments remain  almost  perfect ;  the  face  of 
the  ai-chitrave  is  inclined  slightly  forward, 
that  of  the  frieze  and  pediments  slightly 
backward.     {See  Fig.  308.) 

TiiE.VTKE.  on  the  north  slope  of  Monte 
IJarbaro,  within  the  bounds  of  the  ancient 
city.  It  is  probably  of  the  v  cent.  B.C., 
but  more  or  less  remodelled  in  Roman 
times.  The  plan  is  greater  than  a  semi- 
circle, tlie  eiuls  of  tlie  cavea  being  ex- 
tended about  10  ft.;  the  external  diameter 


460 


SEGNI 


if  209  ft.,  that  of  tlie  orchestra  54  ft.,  the 
length  of  the  stage  OOj  ft.  The  exterior 
wall  is  not  an  arc  of  a  circle,  but  irregu- 
larly jjolygoual,  with  about  twenty  faces. 
The  cavea  is  iu  great  part  excavated  from 
tlie  rock  ;  the  seats  are  of  masonry,  divid- 
ed by  a  precinction,  or  horizontal  jjassage, 
into  two  tiers.  The  lower  tier  of  twenty 
rows  of  seats  is  well  jjreserved,  and  is  di- 
vided by  flights  of  steps  into  seven  cunei. 
The  higiiest  row  of  seats,  next  below  the 
precinction,  is  provided  with  backs.  The 
upper  tier  consisted  probably  of  eight 
rows  of  seats.  The  foundations  of  the 
stage-structure  remain  ;  the  suj^iwrtiug 
walls  of  the  ends  of  the  cavea  are  in  good 
condition. 
SEGNI  (anc.  Signia),  Latium,  Italy. 

The  Walls  are  one  of  the  most  remark- 
able examples  of  Cyclopean  work  in  Italy. 
The  entire  circuit,  with  its  five  gates,  can 
be  followed.  The  nuxsoury  is  in  large, 
roughly  squared  blocks  of  limestone.  One 
of  the  gates,  now  called  the  Porta  Saraci- 
nesca,  is  of  especial  interest  from  its  size  and 
solidity.  Its  sides  converge  toward  the  top, 
and  the  huge  lintel-stones  are  12  ft.  long. 
On  the  southeast  side  of  the  town  is  a  sec- 
ond gate,  almost  precisely  similar.  With- 
in the  walls  there  is  a  temple  of  Roman 
date,  now  converted  into  the  church  of 
San  Pietro  ;  its  walls  are  iu  good  ashlar  of 
tufa. 

SELEUCIA  PIERIA  (Suweidiyeh),  Syr- 
ia. 

Tombs  of  the  Seleccid^,  so-called, 
situated  in  a  hillside  near  an  ancient  bridge 
which  crosses  the  rock-cut  water-channel. 
A  vestibule,  20  ft.  long  and  8  ft.  wide,  with 
beautiful  engaged  columns  on  each  .side 
and  a  vaulted  rock-cut  ceiling,  leads  to  a 
chamber  richly  ornamented  with  friezes, 
volutes,  etc.  From  this  chamber  passages 
diverge  to  a  ntimber  of  burial-chambers 
with  loculi  and  niches.  On  the  plateau 
forming  the  upper  town  are  plentiful  re- 
mains of  temples  and  other  buildings,  iu- 
cludiuir  a  number  of  columns  still  stand- 


ing, and   portions  of  the  fortifications  of 
the  acropolis. 

There  are  considerable  remains  of  the 
ancient  Walls,  which  were  about  live 
miles  in  circuit,  with  several  of  the  gates, 
and  of  the  walled  and  fortified  port,  of 
oval  shape,  about  1,980  ft.  by  1,350  ft., 
with  two  well-built  moles  at  the  entrance, 
which  is  now  choked.  A  deep  rock-cut 
channel  about  3,000  ft.  long,  is  also  note- 
worthy ;  for  a  length  of  420  ft.,  and  again 
for  a  stretch  of  135  ft.,  it  is  a  tunnel  21 
ft.  wide  and  high,  with  a  channel  about  4 
ft.  wide  in  the  middle  for  the  brook,  to 
divert  which  from  the  city  the  cutting 
was  made. 
SELINUS  (Selinoute),  Sicily. 

This  ancient  Greek  city  was  founded  on 
the  S.  W.  coast  of  Sicily,  in  the  second 
half  of  the  vii  cent.  B.C.,  by  a  colony 
from  Megara  Hyblsea,  on  the  eastern 
coast.  It  rapidly  rose  to  great  prosperity, 
but  was  taken  and  destroyed  by  the  Car- 
thaginians iu  409  B.C.  There  are  on  the 
site  remains  of  seven  important  Doric 
temples,  arwl  several  metopes  from  an 
eighth  temple  have  lately  been  discovered, 
constituting  the  most  considerable  grouj) 
of  ruined  Greek  temples  in  Europe.  The 
temples  ajjjDear  to  have  been  overthrown 
by  earthquakes,  and  iu  the  case  of  several 
of  them  nearly  all  their  architectural 
members  are  present.  Four  of  them 
stood  on  the  Acropolis,  three  on  a  hill 
nearly  a  mile  to  the  eastward  outside  of 
the  city-wall.  They  were  all  built  of  a 
coarse  limestone  from  the  quarries  at 
Campobello,  eight  miles  to  the  N.  W., 
and  coated  with  a  fine,  hard,  white 
stucco. 

Temple  A  (so-called),  the  farthest 
south  on  the  Acropolis,  a  Doric  structure 
of  the  middle  of  the  v  cent.  B.C.,  is 
moderate  in  size  but  excellent  in  style. 
The  stereobate  and  portions  of  walls  and 
of  a  number  of  columns  remain  in  situ. 
It  was  hexastyle,  peripteral,  with  fourteen 
columns  on  the  flanks,  on  a  stylobate   of 


SELIXrS 


four  steps,  witli  ;i  more  numerous  flight 
of  steps  projecting  from  the  middle  of  the 
front.  The  eelhi  had  a  deep  pronuos  and 
opisthodomos,  each  with  two  columns  in 
antis,  and  an  adytum  at  the  back.  The 
stylobate  measures  51f  ft.  by  I'-iT^  ft.,  the 
cella  (exterior)  28^  ft.  l)y  uif  ft. 

Temple  B,  on  the  Acropolis,  the  so- 
called  Temple  of  Empedocles,  a  small 
Doric  tetrastyle  prostyle  structure,  which 
has  been  erroneously  restored  as  having 
Doric  frieze  and  Ionic  columns.  The  re- 
mains are  considerable,  with  important 
traces  of  polychrome  decoration.  A  num- 
ber of  members  of  the  entablature,  with 
their  colors  preserved,  are  in  the  museum 
at  Palermo. 

Temple  C,  on  the  Acroi^olis,  identified 
with  probability  as  a  temple  of  Apollo,  is 
the  second  oldest  of  Selinuntiue  temples, 
and  one  of  the  most  archaic  examides  of 
Doric  architecture.  It  evidently  dates 
back  almost  to  the  foundation  of  the  city 
in  658  B.C.  A  number  of  columns  still 
stand  on  the  stereobate,  together  with  a 
large  portion  of  the  cella  walls.  It  is 
peripteral,  hexastyle,  with  seventeen  col- 
nmns  on  the  flanks,  on  a  stylobate  which 
has  four  steps  on  three  sides,  and  a  flight 
of  nine  steps  in  front  ;  an  inner  range  of 
columns  connects  the  third  lateral  columns 
from  the  front.  The  cella  is  long  and 
narrow,  and  the  distance  from  its  walls  to 
the  surrounding  columns  is  unnsually 
great.  It  has  a  closed  vestibule,  and  at 
the  back  an  adytum,  but  neither  pronaos 
nor  opisthodonios.  The  columns  have 
only  sixteen  channels  ;  tliose  on  the  flanks 
are  of  less  diameter  than  those  on  the 
fronts.  The  height  of  the  heavy  entab- 
lature is  almost  half  tluit  of  the  columns. 
The  architrave  is  crowned  by  a  moulding 
of  abnormal  form.  From  this  temple 
came  the  important  archaic  metopes  rep- 
resenting Hercules  and  the  Kerkopes, 
Athena,  Perseus,  and  Medusa,  and  a  ()uad- 
risia.  now  in  the  museum  at  Palermo. 
The     chief     dimensions     arc  :     stylobate 


:sj  ft.  by  209i  ft.;  cella  (exterior).  34^ 
ft.  by  1331  ft. ;  columns,  base-diameter  6 
ft.  4  in.,  neck-diameter  4  ft.  11  in.,  height 
58  ft.  3  in.;  cella,  5'J  ft.  by  131  ft.  This 
temple  offers  an  interesting  example  of 
the  sheathing  and  ornamental  crowning 
of  the  cornice  with  plates  of  richly  colored 
terra-cotta,  in  part  moulded  in  openwork 
or  otherwise,  and  in  part  adorned  with 
painted  anthemia,  braids,  and  otlier  de- 
signs. 

Temple  D,  standing  about  in  the  mid- 
dle of  the  Acropolis,  an  archaic  Doric 
structure  dating  back  to  the  foundation 
of  the  city,  in  628  B.C.  In  plan  it  is 
peripteral,  hexastyle,  with  thirteen  col- 
umns on  the  flanks,  on  a  stylobate  of 
fourteen  steps.  The  cella  is  long  and 
narrow,  and  is  separated  by  a  wide  inter- 
val from  the  peristyle  columns.  Orig- 
inally it  was  of  the  archaic  type  with  a 
closed  vestibule,  but  this  was  subsequently 
changed  to  a  deep  pronaos  with  two  col- 
umns in  antis.  The  columns  of  the  peri- 
style have  twenty  channels,  those  of  the 
pronaos  sixteen.  At  the  rear  end  of  the 
cella  is  a  large  sekos  or  adytum  which  is 
surrounded  on  three  sides  by  a  stone 
bench.  The  antaj  of  the  cella  terminate 
in  three-quarter  columns  in  place  of  pi- 
lasters. It  is  believed  that  this  temple 
was  dedicated  to  Athena.  The  styloliate 
is  7Tf  ft.  by  1T41  ft.;  columns,  base-dia- 
meter 5  ft.  6  in.,  neck-diameter  3  ft.  9  in., 
height  24  ft.  8  in.;  cella,  27  ft.  by  123^ 
ft.  inside. 

Temple  E  (II  according  to  Ilittorif), 
identified  as  tlie  Ileraeum,  the  farthest 
toward  the  south  of  the  range  of  temples 
on  the  eastern  hill.  It  is  assigned  to  the 
second  half  of  the  v  cent.  B.C.,  and  is  in 
style  very  clo.se  to  the  perfect  Doric, 
though  preserving  some  archaic  features. 
The  ruins  are  the  most  picturesque  among 
Selinuntine  temples.  It  is  peripteral, 
hexastyle.  with  fifteen  columns  on  the 
flanks.  The  cella -structure  has  deep 
pronaos  and  ojiisthodomos,  each  with  two 


SERJILLA 


columns  in  anfis,  and  from  the  rear  of 
till'  interior  of  the  celhi  opens  a  sekos 
chainl)(_'r.  Tlie  cella  lies  several  steps 
higher  than  the  i)rouaos,  and  the  st\do- 
bate  consists  of  four  steps  with  a  more 
numerous  flight  embracing  three  inter- 
columniations  projecting  from  the  middle 
of  the  front.  The  columns  are  coated 
with  tine  white  stucco;  they  have  twenty 
channels,  and  the  curve  of  the  echinus 
apijroaehes  the  perfection  of  the  best 
Athenian  examples.  Abundant  remains 
exist  of  the  rich  polychrome  decoration. 
To  this  temple  belong  the  well-known 
metojies  of  Hercules  and  an  Amazon,  the 
mystic  marriage  of  Zeus  and  Hera,  Arte- 
mis and  ActiBon,  Apollo  and  Daphne, 
Athena  and  the  Giant,  now  in  the  museum 
at  Palermo.  They  are  from  the  friezes  of 
the  pronaos  and  ojnsthodomos.  The  chief 
dimensions  are  :  stylobate,  83  ft.  by  233J 
ft.;  columns,  base-diameter  7  ft.  4  in., 
neck-diameter  o  ft.  10  in.,  height  33  ft.  5 
in. ;  cella  (interior).  STJ  ft.  by  loSj  ft.  The 
longest  architrave-blocks  measure  15  ft. 
5  in.,  and  the  heiglit  of  the  entablature  is 
contained  two  and  one-quarter  times  in 
that  of  the  columns. 

Temple  F  (by  Hittorff  designated  S), 
the  central  one  of  the  range  on  the  east- 
ern hill,  with  parts  of  twenty-four  Doric 
columns  still  in  place.  The  temple,  though 
highly  archaic  in  plan,  is  assigned  to  the 
VI  cent.  B.f.  ;  it  is  long  and  narrow,  with 
a  cella  proportionally  still  narrower.  In 
plan  it  is  peripteral,  hexastyle,  with  four- 
teen columns  on  the  flanks.  The  stylo- 
bate  is  of  four  steps,  the  third  of  which  is 
much  wider  than  the  others.  The  cella 
has  a  closed  vestibule  and  a  sekos  or  ady- 
tum at  the  back.  The  columns  of  the 
peristyle  have  twenty  channels,  those  of 
the  inner  range  sixteen  flutes,  which  are 
separated  by  fillets  ;  the  capitals  are  low 
and  wide-spreading  ;  the  proportions  of 
triglyphs  and  metopes,  etc.,  and  the  two 
metopes  found  bearing  reliefs  of  a  Gigan- 
tomachy,  seem  more  advanced.     The  col- 


umns retain  in  part  their  stucco  coating, 
and  there  are  remains  of  polychrome  or- 
nanu'ut.  The  chief  dimensions  are  :  sty- 
lobate, 80  ft.  by  203  ft.  ;  columns,  base 
diameter  5  ft.  11|  in.,  neck-diameter  4 
ft.  1  in.,  height  29  ft.  10  in.  ;  cella  (in- 
terior). 231  ft.  by  1331  ft.  The  height  of 
the  columns  is  two  and  one-quarter  times 
that  of  the  entablature. 

Temple  G,  identified  as  dedicated  to 
Apollo,  by  others  called  Temple  of  Zeus, 
the  farthest  iu)rth  of  the  range  on  the 
eastern  hill,  of  very  large  size  and  retain- 
ing the  greater  part  of  its  lower  members 
('/(  sifu  desjiite  the  chaotic  appearance  of 
the  ruin.  Its  date  is  placed  in  part  in  the 
VI  cent.  B.C.,  in  jmrt  after  the  middle  of 
the  V,  and  it  was  not  entirely  finished 
when  the  Carthaginians  took  the  city  in 
409  B.C.,  as  is  shown  by  the  fact  that  most 
of  the  Doric  columns  remain  unchannelled. 
In  plan  it  is  perijjteral,  octastyle,  on  a 
stylobate  of  three  steps,  with  seventeen 
columns  on  the  flanks  and  the  space  of 
two  intercolumniations  between  the  peri- 
style and  the  cella  walls  and  porticoes 
(pseudo-dipteral).  The  cella  exhibits  a 
deep  pronaos  preceded  liy  a  tetrastyle  por- 
tico having  on  each  side  a  column  inter- 
vening between  angle-column  and  anta, 
and  an  opisthodomos  of  two  columns  in. 
anfis.  In  the  interior  the  cella  had  a 
free  standing  edicule  at  the  back  preceded 
by  a  double  range  of  ten  columns,  each 
range  consisting  of  two  tiers.  The  newer 
capitals  of  the  iieristyle  are  somewhat 
heavy,  but  vigorous  in  outline  ;  the  pro- 
portions of  the  entablature  are  excellent. 
The  chief  dimensions  are  :  stylobate,  166 
ft.  by  3G0  ft.  ;  columns,  base-diameter  11 
ft.  2  in.,  neck-diameter  of  older  columns 
G  ft.  3  in.,  of  newer  columns  8  ft.  1  in., 
height  53  ft.  4  in.  ;  cella  (interior),  59 
ft.  bv  229  ft. 
SERJILLA,  Syria. 

Roman  Therm.-e,  in  excellent  preserva- 
tion. There  remain  the  entrance,  the 
waiting-room,    tiie   heating-chamber,    the 


SERMONETA 


great  hull,  a  miiiibur  of  small  cliaiiibers  or 
sudatoria  covered  in  witli  monolithic 
vaults,  and  a  tribune  for  musicians,  elevat- 
ed on  columns.  fStone  exterior  conduits 
lead  from  a  large  cistern  to  the  window 
of  every  sudatorium,  whence  to  produce 
steam  the  water  was  allowed  to  trickle  down 
on  ]iel)blus  heated  red-hot. 
SERMONETA,  Italy. 

The  Castle  of  the  dukes  of  Sermoneta 
overhangs  and  commands  the  town  from 
the  summit  of  the  high  hill  upon  which  it 
is  built.  It  is  an  immense  structure  built 
during  the  xiii,  xiv  and  xv  centuries. 
In  the  centre  of  a  large  inner  court  is  the 
castle  keep,  a  high  tower  with  battle- 
ments, which  is  the  earliest  remaining 
portion  of  the  castle,  and  dates  apparently 
from  the  xiii  century.  The  upper  story 
has  two  halls  '^0  ft.  by  33  ft.  with  groined 
vaults  ;  one  of  these  appears  to  have  been 
the  chapel  and  was  filled  with  frescoes  of 
the  XIV  century.  The  lower  story  has 
two  larger  halls,  one  33  ft.  by  36  ft. ,  and 
the  other  40  ft.  by  33  ft.  The  latter  is  a 
fine  apartment  covered  with  cross-vaults 
34  ft.  high,  divided  by  a  low  round  trans- 
verse arch.  The  stonework  is  careful 
throughout  the  castle,  and  the  groined 
vault  is  largely  used.  There  are  long  and 
intricate  passages  leading  down,  it  is  said, 
as  far  as  the  i)lain  below.      [A.  L.  F.,  Jr.] 

The  Catiiicuiial  was  originally  a  five- 
aisled  basilica,  probably  built  under  Cis- 
tercian influence  from  the  neighboring 
Valvisciolo  {r/.  r.)  at  the  close  of  the  xii 
century.  The  apse  is  square,  flanked  on 
each  side  by  a  square  chapel ;  there  is  no 
transept  and  the  nave  has  five  bays.  All 
the  aislo  bays  have  groined  cross-vaults, 
and  are  almost  square  in  plan.  There  are 
three  stages  in  the  construction  :  the  tow- 
er at  the  fapade  is  })ure  Romanesque  ;  the 
porch  with  its  wide  pointed  arch  is  in  sim- 
ple (rothic  style  ;  the  body  of  the  church 
is  transitional.  The  outer  aisles  have  been 
turned  into  chapels,  the  apse  has  been 
mi)(leniized.  and   the   round  arches  of  the 


central   nave   have  been  lowered,  so  that 
they  describe  only  about  a  q\iarter  of  a 
circle.     [A.  L.  F.,  Jr.] 
SESSA  (anc.  Suessa  Aurunca),  Italy. 

The  Catiiehral,  dedicated  to  Sta.  An- 
nunziata  and  S.  Pietro,  is  an  ancient  basil- 
ica of  various  dates,  the  oldest  portions 
perhajis  referable  to  the  viii  cent.,  but 
after  a  substantial  rebuilding  consecrated 
anew  in  1113.  The  nave  and  aisles  are 
separated  by  seven  stilted  round  arches  on 
each  side,  springing  from  antique  columns 
with  stilt  blocks.  The  transept  has  three 
apses  on  its  eastern  wall,  and  its  floor  is 
raised  seven  steps  above  that  of  the  nave. 
Beneath  it  is  a  crypt  divided  into  five 
aisles  of  three  bays  each,  with  groined 
vaults  supported  on  columns  with  Corin- 
thian capitals,  over  which  are  thin  mould- 
ed stilt-blocks.  The  fagade  has  a  fine 
open  vaulted  porch  with  three  arches,  the 
middle  one  pointed,  springing  from 
grouped  columns.  Over  the  porch  appears 
only  the  front  of  the  nave,  with  angle  pi- 
lasters running  up  to  a  horizontal  arched 
corbel-table  and  a  low  gable  above.  It  is 
pierced  with  a  single  plain  round-arched 
window  with  a  small  gable.  This  nave 
front  is  flanked  by  two  singular  tower-like 
modern  bell-cotes  which  cover  the  ends 
of  the  aisles.  They  are  great  masses  of 
wall,  gabled  and  divided  by  string-courses, 
pierced  each  by  five  arches  in  three  stories, 
in  which  hang  the  bells  of  the  church. 
Three  doors  enter  the  nave  and  aisles. 
The  church  has  a  remarkable  marble  pul- 
pit dating  from  1350,  a  mass  of  mosaic 
and  sculptured  ornament,  supported  Ijy 
columns  resting  on  lions  and  carrying 
round  arches.  A  fine  Paschal  candle- 
stick has  similar  decoration. 

The  remains  of  antiquity  include  frag- 
ments of  a  temple,  incorporated  in  the 
church  of  the  Vescovado,  a  cryptoporti- 
cus  in  the  monastery  of  San  (Jiovanni. 
built  of  stones  of  remarkable  size,  an  am- 
phitheatre, many  foundations  of  reticu- 
lated  masoiu'v.  and    a    Ronuin    bridge    of 


SEZZE 


twenty-one  arches,   called    the   Ponte   di 
Ronaco  (Aurunca). 
SEZZE,  Italy. 

Tlic  Cathedral,  after  being  destroyed 
in  the  xii  cent.,  was  rebuilt  shortly  be- 
fore 1200  tinder  the  combined  Cistercian 
influence  of  Fossanova  {q.  v.)  and  Valvis- 
ciolo  (q-v-),  in  the  style  of  transitional 
Gothic.  The  plan  is  basilical,  without 
transept  and  with  a  single  semicircular 
apse.  The  interior  consists  of  eight  baj's: 
the  length  of  the  church  103  ft.,  its 
width  (iO  ft.,  width  of  nave,  nearly  24  ft., 
of  aisles,  11  ft.  Only  a  few  changes  have 
been  made  since  the  time  of  the  original 
construction,  the  principal  alterations  be- 
ing made  in  the  xviii  cent.,  when  the 
apse  and  fa9ade  were  reversed  and  the 
vaults  of  the  nave  were  reconstructed. 
There  remains  but  one  original  nave  vault 
next  to  the  old  apse  ;  it  is  a  low-ribbed 
groin  vault  with  plain  square  moulding  as 
at  Sta.  Maria  di  Castello  at  Corneto  (</.  r.) 
and  some  Lombard  churches.  The  vaults 
of  the  side-aisles  are  groined,  and  separat- 
ed by  pointed  transverse  arches.  The 
plain  arches  of  the  nave  are  pointed  as 
at  Valvisciolo,  but  not  as  heavy,  being 
in  their  prof)ortions  similar  to  Fossanova 
and  Casamari  ;  they  are  supported  on 
grouped  piers.  There  is  a  curious  irregu- 
larity in  the  use  of  the  engaged  members 
which  supported  the  ribs  of  the  ancient 
main  vaults  ;  some  are  colonnettes,  some 
pilasters,  some  descend  to  the  floor,  some 
only  jiart  way  down  the  piers,  as  in  Cister- 
cian churches.  The  most  advanced  feat- 
ure of  the  building  are  the  capitals  of 
these  engaged  shafts,  which  are  of  graceful 
foliated  Gothic  type,  quite  rich  in  treat- 
ment and  of  good  jjroportions,  and  sug- 
gest a  French  hand,  while  all  the  rest  of 
the  structure  is  an  Italian  adajjtation  of 
French  models.  Tlie  original  windows 
were  closed  in  the  xviii  cent.,  when  the 
vaults  were  remodelled.  The  construction 
is  entirely  of  stone.  At  the  time  of  the 
so-called  restoration  in  the  xviii  cent.,  a 


door  was  opened  in  the  a2)se  which  became 
the  modern  facade,  and  a  modern  choir 
was  placed  at  the  ancient  faQadc.     [A.  L. 
F.,  Jr.] 
SHAKKA,  Ilauran,  Syria. 

The  small  Basilica  is  one  important 
step  in  that  develojiment  of  the  forms  of 
Christian  architecture  which  makes  the 
buildings  of  central  Syria  memorable.  It 
dates  from  the  i  or  ii  cent.,  and  is  nearly 
a  square  of  65  ft.  It  fronts  east,  and  is 
entered  by  three  doors  of  classic  detail, 
between  which  are  two  curious  niches 
flanked  by  pairs  of  colonnettes  supporting 
pediments  over  arched  entablatures.  It 
is  entirely  of  stone,  like  the  other  build- 
ings of  the  Ilauran  {q.  v.).  The  interior 
is  crossed  by  six  arcaded  screens  which 
bore  the  flat  roof.  The  central  arches, 
26  ft.  wide,  and  nearly  as  high,  make 
an  open  nave ;  the  narrower  side  arches 
give  aisles,  leaving  square  jiiers  between. 
These  arched  screens  are  the  structure  of 
the  building,  supporting  the  roof  and 
staying  the  walls,  wliich  are  only  fillings 
between  them.  The  aisle  arches  are  in 
two  stories  of  half  height,  with  a  floor 
between,  making  an  upper  gallery,  and  a 
row  of  longitudinal  arches  between  the 
piers  bears  the  stone  parapet  of  this  gal- 
lery. There  is  no  clerestory,  nor  aisle  win- 
dows, the  building  being  lighted  by  the 
openings  in  the  front  and  rear  walls.  Its 
structure  singularly  anticipates  many  cliar- 
teristics  of  European  media?val  architect- 
ure. 

SHOHBA    (anc.   Philippopolis),  Ilauran, 
Syria. 

Baths,  containing  a  number  of  vaulted 
chambers,  with  interesting  sculpture. 
There  are  lofty  arched  entrances.  The 
walls  wei"e  encrusted  with  marble,  the 
metallic  clamps  for  holding  which  are 
still  in  place.  The  earthen  pipes  for  the 
distribution  of  water  are  also  in  place. 
The  water  was  brought  by  an  aqueduct, 
five  arches  of  which  are  still  standing. 

Theatre,  built  in  the  slope  of  a  hill. 


466 


SIAH 


The  exterior  walls  are  still  in  good  pres- 
ervation. Ten  tiers  of  seats  are  visible. 
There  is  a  precinction  or  horizontal  gal- 
lery, and  three  entrances  from  below  and 
four  from  above.  The  stage  wall  is  orna- 
mented with  niches.  The  diameter  of  the 
orchestra  is  about  65  ft.,  the  length  of  the 
stage  structure  about  136  ft.,  its  dejrth 
about  29  ft.  Iktween  the  theatre  and  the 
street  there  is  a  small  square  tem2)le  of 
good  style. 

The  Roman  W.\lls  are  still  standing  in 
part,  with  several  gates  consisting  of  two 
arches,  side  by  side,  separated  by  a  j^ier. 
Some  of  the  streets  are  35  ft.  wide,  and 
well  paved  with  long  slabs.  At  the  inter- 
section of  the  two  chief  streets,  which 
appear  to  have  been  colonnaded,  are  ruins 
of  a  tetrapylon,  as  at  Gerasa.  There  are 
several  temples  ;  five  columns  of  the  por- 
tico of  one  of  them  are  still  erect. 
SIAII,  near  Kanawat,  Hauran,  Syria. 

Sanctuary  of  Baal  Samin  (a  sun- 
god),  shown  by  inscriptions  to  date  from 
the  first  cent,  of  our  era.  There  are  three 
enclosures  succeeding  one  another  from 
east  to  west.  The  entrance  to  tlie  first 
of  these  is  by  a  triple  gateway  resembling 
somewhat  in  elevation  an  Egyptian  pylon, 
but  with  classical  details.  The  court  is 
about  130  ft.  by  52  ft.,  and  is  paved  with 
slabs  of  lava.  A  second  gateway  of  simi- 
lar plan  leads  into  the  second  enclosure, 
which  has  the  same  width  as  the  first,  and 
is  about  ITil  ft.  long.  Within  the  third 
enclosure,  which  occupies  the  extremity 
of  the  terrace,  is  a  spacious  peristyle  on  a 
level  several  steps  higher  than  that  of  the 
preceding  court;  and  bcliind  this  rises 
the  temple  i)roper,  the  plan  of  which  is 
still  unknown,  owing  to  tlie  choking  of  the 
interior  with  debris.  The  front  of  the 
temple  was  of  two  stories  ;  the  lower  one 
only  is  standing,  and  consists  of  a  recessed 
porch  of  two  columns  in  antis  between 
square  projecting  wings,  'i'he  plan  of  this 
sanctuary  is  to  be  compared  with  that  of 
the  Temple  at  Jerusalem.    The  capitals  of 


the  jieristyle  are  of  a  rather  heavy  Corin- 
thian, with  plain,  broad  leaves  in  place  of 
the  acanthus,  and  somewhat  rude  figures 
of  children  in  that  of  the  central  anthe- 
mion.  The  bell-shaped  bases  are  formed 
of  a  double  rank  of  inverted  acanthus- 
leaves.  The  sculptured  ornament  of  the 
sanctuary,  which  is  at  once  vigorously  and 
delicately  execnited,  includes  vine-branches 
and  grapes,  foliage,  a  lion,  an  eagle,  ga- 
zelles, a  saddled  horse,  etc.  A  sacrificial 
altar  has  been  found  flanked  by  two  bucks 
in  high  relief,  and  another  bearing  a  bull's 
head.  Pedestals  for  statues,  with  their 
inscriptions,  still  stand  in  the  portico  of 
the  innermost  court.  One  of  them  bears 
the  name  of  llerod  the  Great. 
SICYON,  Greece. 

Theatre,  on  the  N.  E.  slope  of  the 
Acropolis,  explored  by  the  American 
School  at  Athens  in  18Sfi-87.  The  cavea 
was  divided  into  fifteen  radial  sections  by 
fourteen  stairways ;  there  were  about 
forty  tiers  of  seats,  the  upper  tiers  be- 
ing cut  from  the  natural  rock.  The 
lowest  tier  comprised  seats  of  honor  in 
Poros  stone,  formed,  as  at  Epidaurus,  like 
benches  with  backs,  and  moulded  arms  at 
the  ends.  The  length  of  the  benches  is 
about  8  ft.  There  is  a  didzoiiut  or  hori- 
zontal passage  at  a  comparatively  short 
distance  above  the  orchestra,  which  makes 
it  probable  that  a  second  diazoma,  as  yet 
undiscovered,  existed  tibove.  The  diazoma 
has  a  coijing  about  3  ft.  high  at  the  back, 
and  two  entrances  from  without  the 
theatre,  one  on  either  side,  by  means  of 
vaulted  passages,  which  are  interesting 
for  their  Greek  vaults  of  good  rectangu- 
lar nuisonry  in  large  blocks.  The  orches- 
tra, of  which  the  diameter  is  about  60  ft., 
had  a  surface  of  ramnunl  earth,  or  earth 
and  cinders  ;  it  was  skirted  beneath  the 
cavea  by  a  drain  about  4  ft.  wide,  the  in- 
ner masonry  of  which  fornied  a  coping  to 
the  orchestra.  The  jxirat/oi.  or  i>assages 
into  the  orchestra  between  stage  and 
cavea,  were   closed    by   double    doors,  the 


456 


SIDE 


foundations  of  which  are  in  phice.  The 
stage-structure  iuchules  a  number  of  jiar- 
allel  walls  with  projecting  chambers  at 
the  sides.  It  represents  a  Roman  modifi- 
cation of  the  original  structure.  The 
length  of  the  wall  of  the  proscenium  is  To 
ft.  9  in. ;  it  was  pierced  with  three  doors 
unsymmetrically  piaffed.  An  interesting 
feature  is  the  underground  passage  or 
drain,  beginning  in  a  shallow  and  narrow 
conduit  at  the  middle  of  the  skirting  drain 
of  the  orchestra,  and  carried  in  a  straight 
line  through  the  centre  of  the  orchestra  and 
out  rinder  the  stage  buildings,  whence  it 
is  continued  by  a  smaller  tunnel  in  the 
rock.  In  the  middle  of  the  orchestra  it 
widens  and  deepens  to  form  a  tank,  be- 
yond which  its  width  is  27  in.  and  its 
depth  about  6  ft.  Between  the  Eoman 
and  the  Greek  j)roseenia  a  flight  of  five 
steps  leads  down  into  the  passage,  the  bot- 
tom step  being  raised  IJ  ft.  above  the 
floor  to  allow  water  to  pass  under.  The 
j)assage  was  covered,  except  over  the  stair- 
way, with  slabs  of  conglomerate,  lined  with 
masonry,  and  in  part  floored  with  stone 
slabs.  It  undoubtedly  served  both  as  a 
drain  and  as  a  jiassage  for  actors  from  be- 
hind the  proscenium  to  the  middle  of  the 
orchestra,  and  it  is  to  be  compared  with 
the  similar  feature  discovered  by  the 
American  School  in  the  theatre  at  Eretria. 
At  the  back  of  the  stage-structure  was  a 
Roman  portico  forming  a  monumental 
facjade  toward  the  exterior.  At  the  south 
end  of  tliis  portico  is  a  large  square  struct- 
ure, probably  a  cistern,  and  at  the  north 
end  a  building  of  semicircular  plan  jire- 
ceded  by  a  portico  of  four  columns,  which 
is  identified  as  an  ornamental  fountain. 
Other  ancient  structures  recorded  in  his- 
tory undoubtedly  await  exploration  at 
Sic  von. 
SIDE  (Eski  Adalia),  Asia  .Alinor. 

Agora,  180  ft.  in  diameter,  and  sur- 
rounded by  a  double  peristyle  of  columns. 
One  side  is  occupied  by  the  ruins  of  a 
temple,  and  a  portico. 


MONV.MEXT.\.L     FofXTAIX.  It     IS     a 

massive  wall  about  45  ft.  high,  with  a 
range  of  small  arcades  and  niches  above, 
and  three  large  semicircular  vaulted 
niches  below,  in  each  of  which  three 
streams  of  water  issued  from  conduits  and 
fell  into  basins.  The  lower  half  of  the 
monument  was  further  decorated  by  a  co- 
lonnade of  thirty-two  unfluted  Corinthian 
columns,  standing  on  a  basement  and 
with  a  comjiletc  entablature,  the  convex 
frieze  being  carved  with  foliage.  At  each 
end  of  the  monument  an  exedra  jirojected 
at  right  angles. 

Theatrk,  in  excellent  preservation.  It 
is  situated  on  a  gentle  declivity,  the  lower 
half  only  is  excavated,  the  upper  half  is  of 
solid  masoniy.  In  plan  it  is  about  one- 
ninth  greater  than  a  semicircle  ;  the  ex- 
terior diameter  is  409  ft.,  that  of  the  or- 
chestra 125  ft.,  the  vertical  height  79  ft. 
The  cavea  has  forty-nine  tiers  of  seats, 
in  two  divisions — twenty-six  in  the  low- 
er, and  twenty-three  in  the  upper.  The 
precinction  or  gallery  and  its  corridor 
are  on  a  level  with  the  surface  of  the 
ground  at  the  back,  and  communicate 
with  it  by  twenty-three  vaulted  passages 
in  excellent  and  massive  masonry  of  large 
blocks.  Most  of  the  seats  are  still  in 
place,  and  the  radial  stairways  are  still 
passable.  The  seats  are  of  white  marble, 
admirably  cut.  The  estimated  capacity 
of  the  theatre  is  fifteen  thousand. 

A  considerable  part  of  the  ancient  city 
walls  survives,  especially  on  the  land 
side,  where  the  masonry  is  excellent. 
There  is  one  gate  in  the  wall  on  this  side, 
and  three  toward  the  sea. 
SIENA.  Italy. 

The  Cathedral  is  one  of  the  most  con- 
spicuous and  interesting  examples  of  the 
Italian  Gothic.  In  size  it  can  scarcely  be 
ranked  with  churches  of  the  first  cla.ss, 
having  a  length  of  about  275  ft.  internal- 
1}',  and  a  breadth  of  about  75  ft.  or  170  ft. 
across  the  transept.  The  original  church 
appears  to   have  existed   as  early   as   the 


45T 


SIEXA 


middle  of  tho  x  century.  It  was  reconse- 
crated, in  11  TO,  after  enlargement.  A 
still  more  thorough  rebuilding  took  place 
less  than  a  century  later,  the  facade  hav- 
ing been  beirun.  in    r.'4.').  under  Xiccolo 


riched  arch  mouldings,  and  covered  by 
high  crocketed  gables  separated  by  pin- 
nacles bearing  niches  with  statues,  and 
surmounted  each  by  a  standing  figure. 
The  porch  is  flanked  by  strong  angle-piers 


Fig    209 — Siena    Catheijial. 


I'isano.  The  design  contemplated  a  church 
of  much  greater  size  than  the  present, 
which  is  the  transept  of  the  intended 
church.  This  greater  design  was  aban- 
doned after  the  exterior  walls  had  been 
carried  up  to  the  height  of  the  roof.  Parts 
of  it  and  of  the  nave  arcade  are  still  stand- 
ing, and  are  of  great  beauty.  The  exte- 
rior is  entirely  built  of  white  marble,  with 
occasional  thin  courses  of  dark  gray  or 
black  marble.  The  fa(;ade  is  of  exceeding 
richness,  and  shows,  especially  in  its  lower 
portions,  more  of  the  feeling  of  northern 
Gothic  than  is  often  found  south  of  the 
Alps.  This  portion  consists  of  a  great 
triple-arched  porch  stretching  across  near- 
ly the  whole  front,  the  three  arches  of 
equal  lireadth  and  height,  very  slightly 
pointed  (but  the  central  one  round),  deep- 
ly splayed,  and  with  columnar  jambs,  en- 


which  are  the  bases  of  two  small  towers 
that  flank  the  facade,  and  terminate  above 
the  roof  in  low  spires  and  pinnacles.  The 
fagade  above  the  porch  is  divided  into 
three  compartments  answering  in  breadth 
to  the  nave  and  aisles.  Each  division  is 
covered  by  a  high  gable  ;  the  central  di- 
vision, carried  to  a  much  greater  height 
than  the  sides  and  flanked  by  bold  square 
buttresses  ending  in  pinnacles,  is  a  great 
square  panel  enclosing  a  round  window 
beset  with  small  niches,  each  containing  a 
bust.  A  rich  and  delicate  arcaded  gallery 
binds  it  to  the  tower  on  each  side.  The 
wall  surfaces  are  everywhere  enriched  with 
sculpture.  The  flanks  of  the  church  are 
of  much  simpler  design,  but  perfectly  con- 
sistent with  the  front.  Both  aisle  and 
clerestory  walls  are  divided  by  buttresses 
into    bays,    which   below    contain    broad 


■(5S 


SIENA 


pointed  single  windows  of  admirable  de- 
sign, with  slender  angle-shafts,  and  high 
crocketed  traceried  gables  flanked  by  pin- 
nacles. The  elerestorj'  has  also  single 
pointed  windows,  divided  into  three  lights 
with  tracery  in  the  arch-head.  The  but- 
tresses both  of  aisles  and  clerestory  are 
crowned  by  standing  statues  above  the 
roof-line.  The  drum  of  the  central  dome 
is  surrounded  by  an  arcaded  gallery  rang- 
ing with  the  clerestory  wall  just  above  the 
aisle-roof,  and  is  crowned  by  a  circular 
lantern  with  round -arched  cusjied  win- 
dows and  coujiled  columns.  The  camijan- 
ile,  rebuilt  in  the  Xiv  cent,  by  Agostino 
and  Angelo  da  Siena,  is  a  most  conspic- 
uous feature  of  the  church.  It  stands 
at  the  junction  of  the  south  aisle  and 
transept,  its  base  being  included  within 
the  church.  It  is  a  slender  square  tower 
in  seven  stages,  of  which  six  are  marked 
by  a  regularly  increasing  series  of  open- 
ings in  each  face,  from  one  to  six.  The 
wall  is  striped  like  tlie  rest  of  the  church 
with  alternate  counses  of  white  and  black 
marble,  the  angles  are  marked  by  pilasters 
of  very  slight  projection,  terminating  in 
jjlain  square  pinnacles  within  which  rises 
a  low  octagonal  stone  spire.  The  east  end 
of  the  church,  though  unfinished,  is  of 
great  interest.  It  has  an  additional  lower 
story,  occasioned  ])y  the  rajiid  slope  of  the 
hill  on  which  the  cathedral  stands,  and 
which  gives  entrance  to  the  baptistery 
beneath,  now  the  church  of  S.  Giovanni. 
Here  are  three  round -arched  doorways 
with  sjilayed  columnar  jambs  and  enriched 
arch  mouldings,  the  central  arch  cov- 
ered by  a  crocketed  gable  with  tracery. 
The  fa(;ade  is  divided  into  three  bays  by 
square  buttresses,  of  which  the  lower  por- 
tion is  decorated  with  lozenge  -  shaped 
panels  containing  sculptured  heads,  and 
the  upper  portions  by  rich  and  delicate 
tracery  of  gabled  arches  on  slender  shafts. 
Between  the  lower  and  upper  stage  the 
wall  was  enriched  by  a  beautiful  blind  ar- 
cade of  narrow  pointed,  cusped.  and  gabled 


arches  on  slender  columns,  of  which  the 
shafts  have  disappeared.  The  upper  stage 
has  in  each  bay  a  fine  two-light  Avindow, 
narrow  and  high,  with  deeply  splayed  col- 
umnar jambs  and  arch  mouldings,  and  a 
gable  flanked  with  jjinnacles.  Above  these 
windows  runs  an  arched  corbel-table,  at 
the  height  of  the  aisle-walls.  The  ui^por 
parts  are  wanting.  The  interior  has  a 
nave  of  five  bays,  separated  from  the  aisles 
by  square  jjiers,  with  a  half  column  on 
each  face  with  large  comjjosite  capitals 
supporting  round  arches,  of  which  the  sof- 
fits are  richly  panelled.  Transverse  arches, 
also  with  broad  panelled  softits,  divide  the 
nave  and  aisles  into  vaulted  bays.  The 
spandrels  of  the  nave  arches  are  decorated 
with  roundels  enclosing  heads  in  high  re- 
lief. Above  the  arcade  runs  a  bracketed 
frieze  of  square  panels  enclosing  busts  in 
terra-cotta  of  the  popes.  The  clerestory 
is  high,  and  is  pierced  with  the  windows 
already  described.  There  is  no  triforium. 
Walls  and  piers  are  everywhere  striped 
with  alternate  courses  of  black  and  white 
marble.  The  crossing  is  covered  by  a 
dome  which  expands  beyond  the  width  of 
the  nave,  and  beginning  with  a  hexagonal 
wall  resting  on  six  great  central  jjiers  and 
arches,  is  changed  to  a  twelve-sided  i)\an 


WMWl 


4U 


Fig.  210.— Siena,  Cathedral. 
Scale  of  100  feet. 

by  large  and  conspicuous  squinches   en- 
closing statues.     This  portion  of  the  wall 


SIEXA 


is  lined  with  a  continuous  colonnuile  filled 
with  standinir  ligures  of  the  prophets, 
with  a  frieze  above  of  heads  of  cherubs  in 
high  relief.  Above  this  the  dome  itself  is 
oval  in  plan,  its  soffit  deeply  panelled  and 
decorated.  The  elioir.  prolonged  in  1317, 
is  in  four  bays,  like  those  of  the  nave. 
Under  its  eastern  half  is  the  ancient  bap- 
tistery above  mentioned,  now  the  church 
of  S.  (iiovanni.  of  the  full  breadth  of  the 
cathedral  but  only  two  bays  deep,  di- 
vided by  clustered  piers  supporting  high 
pointed  arches  and  covered  by  four-part 
vaulting.  The  baptistery  contains  a  font 
in  gilt  bronze,  with  reliefs  by  Ghiberti 
and  Douatello.  The  pavement  of  the 
cathedral  is  remarkable,  consisting  of  an 
inlay  of  dark  gray  marble  on  a  white 
ground  representing  a  great  variety  of 
subjects,  biblical,  mythological,  allegori- 
cal and  symbolic,  of  which  the  best  por- 
tions are  attributed  to  Beccafumi,  and  pre- 
sumed to  date  from  the  beginning  of  the 
XVI  century.  The  pulpit,  one  of  the  fin- 
est in  Italy,  is  by  Niccolo  Pisauo  and  his 
sons,  Giovanni  and  Arnolfo.  It  is  of 
marble,  octagonal  in  plan,  supported  by 
eight  columns  at  the  angles  and  one  in  the 
centre,  raised  on  a  basement,  the  alternate 
columns  resting  on  the  backs  of  lions,  and 
the  central  column  on  a  pedestal  sur- 
rounded by  figures  and  groujjs  in  high  re- 
lief. The  capitals  are  highly  developed 
and  support  round  cusped  arches,  between 
which  the  angles  are  charged  with  admi- 
rable sculpture.  Its  wall  above  the  arches 
is  covered  with  reliefs  of  scriptural  sub- 
jects. The  pulpit  is  approached  by  a 
winding  staircase  decorated  with  beautiful 
arabesques  in  relief.  It  bears  the  date 
1368.     {See  Figs.  209,  210.) 

CnuRcn  OF  the  Osservaxza,  a  xv 
cent,  llenaissance  church,  belonging  to 
the  ancient  monastery  of  the  Padri 
Minori  Osservanti.  The  plan  is  pecul- 
iar ;  a  nave  of  two  great  square  bays 
opens  through  a  triumphal  arch  into  a 
wider   square   choir,    behind    which    is   a 


deep  apsidal  chapel,  each  covered  by  a  flat 
dome.  A  great  order  of  Ionic  pilasters  is 
carried  about  the  whole,  supporting  the 
transverse  arches,  and,  with  detached  pi- 
lasters, the  triumphal  arch.  From  each  bay 
of  the  nave  a  jiair  of  chapels  opens  on 
each  side  through  sub-arches  flanked  by 
pilasters.  The  bays  of  the  nave  are  cov- 
ered by  low  domes,  the  choir  by  a  high 
dome  on  an  entablature  above  the  peuden- 
tives,  which  are  decorated  with  medallions 
of  glazed  terra-cotta  with  busts  in  relief, 
by  Francesco  di  Giorgio.  In  each  wall- 
arch  is  a  small  round  clerestory  window, 
and  similar  windows  light  the  chapels. 
On  the  front  is  a  porch  in  two  stories — 
the  first  with  three  open  arches  with  a 
horizontal  entablature  above,  the  second 
with  an  order  of  engaged  pilasters  with 
a  central  gable.  The  exterior  is  of  brick 
very  simply  treated  —  the  central  dome 
showing  as  a  plain  cylindrical  lantern 
without  openings,  and  with  a  low  conical 
roof.  A  tall,  slender,  square  bell  -  tower 
stands  at  the  S.  E.  angle  of  the  tribune. 

Chukch  of  the  Servi,  a  Renaissance 
church  attached  to  the  monastery  of  the 
Servi,  and  known  also  as  St.  Mary  of  the 
Conception.  The  monastery  dates  from 
the  middle  ages,  but  the  present  chui'ch 
was  rebuilt  during  the  last  years  of  the 
XV  cent,  or  the  early  years  of  the  xvr, 
and  has  been  attributed  to  Peruzzi.  Al- 
though the  design  is  in  the  style  of  the 
Renaissance,  its  plan  and  system  of  con- 
struction suggest  a  Gothic  beginning. 
The  nave  and  aisles,  about  125  ft.  long, 
are  separated  by  arcades  of  round  arches 
springing  from  Ionic  columns,  above 
which  transverse  arches  divide  them  into 
five  bays  each,  covered  by  groined  vaulting 
which  in  the  aisles  is  pointed.  Heavy 
buttresses  span  the  aisles  and  separate  the 
chapels  that  flank  each  bay.  The  tran- 
sept is  in  five  bays,  the  crossing  square, 
the  others  oblong,  but  all  groined  at  the 
height  of  the  nave  vaulting.  The  tran- 
sept  terminates   at   each   end   in  a   deep 


SIENA 


pol_vgonal  apse,  and  on  its  eastern  wall, 
flanking  the  square  groined  ehoir  with  its 
polygonal  apse,  are  two  smaller  apsidal 
chapels  on  each  side,  of  similar  form.  A 
square  bell-tower  stands  at  the  south  an- 
gle of  the  jjlain  front. 

The  FoNTE  Br.\nd.v,  made  memorable 
by  Dante's  mention  of  it,  is  the  most  strik- 
ing example  of  a  class  of  fountains  pe- 
culiar to  Siena.  The  rectangular  basin, 
some  55  ft.  long,  is  covered  by  a  brick 
structure  30  ft.  high,  with  a  solid  wall  on 
three  sides,  and  on  the  front  three  high 
pointed  blind  arches  of  brick  springing 
from  square  piers,  and  enclosing  lower 
open  arches  of  the  same  form.  The  wall 
is  capped  with  a  strong  arched  corbel- 
table,  and  crowned  with  square  battle- 
ments. The  interior  is  divided  by  trans- 
verse arches  into  three  square  groined 
bays.  The  fountain  dates  from  the  end 
of  the  XII  century. 

Another  fountain  of  the  same  kind  is 
the  Fonte  Nuova,  built  half  a  century 
later,  in  1259.  with  brick  arches,  and  cor- 
nice enriched  with  decoration  in  terra- 
cotta. 

The  FoxTE  Gaja,  opposite  the  Palazzo 
Pubblico,  on  the  old  Piazza  del  Campo, 
now  called  the  Piazza  Vittorio  Emanuele, 
is  one  of  the  most  remarkable  and  beauti- 
ful fountains  in  Italy,  consisting  of  a  low 
rectangular  basin  about  35  ft.  long,  en- 
closed on  three  sides  by  a  wall  or  screen 
6  ft.  high,  buttressed  at  the  ends  by 
sculptured  pedestals.  It  is  decorated  with 
a  series  of  round-arched  shallow  niches 
with  statues,  raised  on  a  pedestal-course 
and  separated  by  broad  pilasters  with  bas- 
reliefs  in  panels.  The  fountain  was  built 
in  1343.  The  original  bas-reliefs  of  the 
panels,  executed  by  Jacopo  della  Querela 
in  1412-19,  have  been  lately  removed  to 
the  museum  near  the  Cathedral,  called  the 
Opera  del  Duomo,  and  the  fountain  jirac- 
tically  renewed  by  a  modern  sculptor, 
Sarrocclii,  in  1869. 

Palazzo    Buonsignore,    one    of    the 


finest  and  most  characteristic  of  the  pal- 
aces of  Siena,  dating  from  the  xiv  century. 
The  fac;ade,  of  brick  aiul  terra-cotta,  is  in 
four  stories,  of  which  the  first  has  high 
pointed  brick  arches,  alternately  large  and 
small,  with  low  segmental  arches  spring- 
ing from  the  same  thin  impost  moulding. 
The  second  and  third  stories  are  alike,  and 
consist  of  ranges  of  triple  windows,  the 
openings  jiointed  and  cusped  and  sepa- 
rated by  slender  shafts,  each  wiudow  cov- 
ered by  a  high  jjointed  bearing-arch  of 
brick.  Under  each  story  runs  an  arcaded 
string-course.  A  larger  and  richer  arched 
corbel-table  above  supports  a  frieze  under 
the  projecting  wooden  eaves,  j)ierced  by 
small  square  windows,  alternating  with 
square  quatrefoiled  panels  enclosing  heads 
in  relief.  The  plan  of  the  jialace  is  a 
square  of  about  76  ft.  and  includes  on  the 
ground-floor  an  entrance  vestibule  stretch- 
ing nearly  across  the  front,  leading  to  a 
court  with  arcades  on  three  sides.  The 
l)rincipal  flooring-beams  in  the  various 
stories  rest  on  wooden  brackets  carved  with 
great  richness. 

Palazzo  Grotanelli.  This  palace, 
which  dates  from  the  xiv  cent.,  has  a 
facade  of  the  Sienese  type  something  over 
100  ft.  in  length,  in  two  stories  of  pointed 
arches  ;  the  first  story  of  stone,  with  plain 
segmental  sub-arches,  the  second  of  brick, 
with  coupled  lights  and  niullion  shafts. 
The  front  is  finished  with  an  arched  cor- 
bel-table with  square  battlements  above. 

Palazzo  Marescotti,  a  fine  xiii  cent, 
palace  with  a  fayade  following  the  broken 
street-line,  about  160  ft.  long,  iu  three 
high  stories,  the  first  two  of  stone,  the 
third  of  brick.  The  first  story  has  a  line 
of  tall  narrow  segmental  arches,  carried 
on  square  piers,  and  capjied  by  pointed 
bearing  -  arches.  The  second  and  third 
stories  have  each  a  lino  of  tri})le  windows 
with  pointed  openings,  divided  by  slender 
columns  and  enclosed  by  a  pointed  bear- 
ing-arch. The  front  is  crowned  by  a  sim- 
ple cornice  with  square   battlements.     A 


461 


SIENA 


low  square  battlemented  tower  rises  from 
its  left  angle. 

Palazzo  Piccolomini  (how  Del  Go- 
verno),  the  most  important  of  a  group  of 
Sienese  palaces  during  the  second  half  of 
the  XV  cent.,  and  having  all  the  char- 
acteristics of  tlie  great  Florentine  palaces 
of  the  same  epoch.  It  was  built  for  Pius 
II.,  about  the  year  1469,  by  Bernardo  Eos- 
sellino,  the  architect  of  his  buildings  at 
Pienza.  Its  principal  facade  is  about  135 
ft.  long  and  95  ft.  high,  in  three  lofty 
stories  of  rustic  stone  masonry.  The  first 
story  has  a  range  of  round  arches  with  a 
central  doorway,  and  over  them  is  a  mez- 
zanine with  small  square  windows.     The 


Fig.  211.— S.ena,  Pal.  Pubblico. 


second  and  third  stories  have  each  a  range 
of  nine  broad  two-light  windows,  round- 
arched,  with  sub-arches  divided  by  a  col- 
umn. Vigorous  string-courses  with  den- 
tils run  under  the  windows,  and  the  front 
is  crowned  by  a  bold  and  well-developed 
corniccione  with  plain  square  windows  in 
the  frieze.  The  design  above  the  first 
story  is  an  almost  exact  copy  of  that  of  the 
Strozzi  palace  in  Florence. 

The  Palazzo  Pl'bblico,  originally  the 
Palazzo  della  Repubblica,  one  of  the  most 
notable  examples  of  a  remarkable  class  of 
medieval  buildings,  was  built  in  1289- 
1309  by  Agostino  and  Angelo  da  Siena. 
It  has  a  fa9ade  of  stone  below  and  brick 
above,  on  the  great 
square  of  the  town, 
making  a  broken  line 
about  200  ft.  long,  three 
stories  in  height,  with 
the  central  portion  car- 
ried up  another  stoi-y 
and  finished  with  angle 
turrets  as  a  low  tower. 
The  openings  are  all 
pointed  arches,  except 
those  of  the  upper  story 
of  the  central  tower.  In 
the  first  story  they  are 
plain,  in  the  other  two 
stories  they  are  filled 
with  trijile  sub-arches 
pointed  and  cusped, 
with  muUion-shafts  un- 
der sol  id  t  y  m  p  a  n  a . 
Above  the  second  story 
of  the  wings  runs  an 
arched  corbel-tal)le.  as 
if  they  had  originally 
stopped  there  ;  a  simi- 
lar one  crowns  the  cen- 
tral tower.  The  win- 
dows rest  on  light 
string-courses,  and  the 
walls  are  crowned  with 
s  q  u  a  r  e  brick  battle- 
ments.    At  the  anufle  of 


SIPONTO 


the  fa9ade  rises  perliaps  the  most  striking 
and  graceful  of  Italian  bell-towers,  a  jjlain 
square  slender  brick  shaft  capped  by  a 
battlemented  cornice  over  arched  corbels 
of  extraordinary  depth  and  projection, 
above  which  is  a  scpiare  stone  belfry  with 
a  single  round-arched  opening  iu  each 
face  and  an  arched  corbel -table  with 
square  battlements.  This  tower,  which  is 
285  ft.  high,  dates  from  132.5-1345.  At 
its  base  projects  an  open  loggia,  with  a 
single  great  round  arch  on  each  face 
springing  from  square  piers,  with  niches 
containing  statues.  It  was  built  as  a 
chajjel  in  1376,  an  offering  vowed  for  the 
cessation  of  the  plague  in  1348,  which  is 
said  to  have  carried  off  eighty  thousand 
of  the  pojiulation  of  the  town.  The 
buildings  enclose  an  interior  court,  sur- 
rounded by  a  noble  vaulted  arcade  of  sim- 
ple round  arches  on  octagonal  piers  with 
foliated  capitals,  supporting  two  stories  of 
wall,  of  which  the  first  has  trijDle  windows 
like  those  of  the  fa9ade,  and  the  upper 
simple  round-headed  openings.  The  pal- 
ace contains  several  great  halls  decorated 
with  remarkable  frescoes  by  the  ancient 
Sienese  masters.     {See  Fig.  211.) 

Palazzo  SPAXOCcni,  a  xv  cent.  Re- 
naissance palace  much  like  the  Piccolo- 
mini  palace,  but  smaller.  It  has  a  fa(,'ade 
of  rustic  stone  work  iu  three  stories,  about 
75  ft.  wide  and  80  ft.  high.  The  first 
story  has  a  range  of  five  equal  round 
arches  ;  the  two  upper  stories  have  each 
five  windows  with  two  round-headed 
lights  divided  by  a  column  under  a  round 
arch.  String-courses  with  dentils  run 
under  the  windows,  and  the  front  is 
crowned  with  a  strong  projecting  cornic- 
cione  with  brackets,  between  which  are 
medallions  with  heads  in  relief.  The  pal- 
ace was  begun  in  1472  from  designs  by 
Bernardo  Rossellino,  or,  as  some  say,  of 
Francesco  di  Giorgio. 

Palazzo  Tolomei,  a  good  example  of 
the  smaller  palaces  of  Siena  during  the 
XIII   century.     It  has  a  simple,  vigorous 


facade  of  stone  about  60  ft.  broad  and 
112  ft.  high,  in  four  stories,  of  which  the 
first,  covering  with  its  mezzanine  a  height 
of  nearly  40  ft.,  has  a  central  square  door- 
way under  a  pointed  arch,  with  a  smaller 
doorway  on  each  side  and  plain  square 
mezzanine  windows  above.  The  three 
upper  stories  are  alike,  each  having  five 
large  two-light  pointed  windows,  with 
mullion-shafts  and  tracery  resting  on  thin 
string-courses.  The  fa9ade  is  finished 
with  an  arched  corbel-table  and  square 
battlements. 
SIPUXTO,  Italy. 

The  Cathedral  (Sta.  Maria  Maggiore), 
now  abandoned,  is  a  singular  and  interest- 
ing example  of  early  xi  cent,  architecture 
altered  in  the  xii  and  xvi  centuries.  Its 
plan  is  a  square  of  about  60  ft.,  with 
small  semicircular  apses  on  the  east  and 
south.  It  contains  an  under  church  and 
an  upper,  the  lower  being  the  oldest  por- 
tion of  the  building.  This  is  about  44  ft. 
square,  divided  into  twenty-five  square 
groined  bays  by  round  arches  springing 
from  Corinthian  columns,  with  semicircu- 
lar aj^ses  oijening  from  the  middle  bay  on 
the  east  and  south  sides,  and  an  entrance 
doorway  on  the  north.  The  four  columns 
nearest  the  angles  were  replaced,  probably 
in  the  xii  cent,  rebuilding,  by  massive 
round  piers,  to  bear  the  weight  of  the 
piers  of  the  upper  church  supj)orting  the 
central  dome,  which  are  connected  by  four 
great  pointed  arches  over  which  is  a  low 
groined  dome  with  a  flat  external  roof  and 
small  lantern.  The  aisles  on  the  four 
sides  of  this  central  square  are  covered  by 
pointed  barrel-vaults,  and  the  square  bays 
at  the  angles  are  groined.  There  are  two 
semicircular  apses  over  those  below.  The 
exterior  is  i^artly  ruined.  The  fac;ade 
has  a  square  door  in  the  middle,  with 
round  bearing-arch,  between  two  columns 
on  lions,  and  surmounted  by  a  low  gable 
now  mostly  gone.  On  each  side  of  the 
doorway  are  two  round  blind  arches  on 
columns,  much   in   the   Pisan  style,  with 


SIRACUSA 


inlaid  lozenges  between  the  shafts.  The 
easterly  apse,  arcaded,  with  flat  pilasters 
decorated  with  mosaic,  has  on  either  side 
two  blind  arches  like  those  of  the  front. 
Tlie  church  is  believed  to  have  been  be- 
gun in  1010,  and  finished  in  1037,  but 
was  substantially  rebuilt  in  the  beginning 
of  the  following  century,  and  consecrated 
anew  by  I'opc  Pascal  II.  in  1117.  A  sec- 
ond restoration  took  place  in  the  xvi 
century. 

SlltAC'USA,  Sicily.     See  Syracuse. 
SKYTHOPOLIS.     See  Beisan. 
SO  AX  A   (Sovana,  anc.  Suana).  Etruria, 
Italy. 

The  Xeckopolis  abounds  in  Etruscan 
sculptured  rock-facades  of  much  interest, 
and  2iresenting  original  features.  One, 
called  La  Eontaua,  has  over  a  shallow 
arch  simulating  a  doorway  a  rudely  shaped 
pediment  which  is  carved  with  a  female 
figure  resembling  the  Greek  Scylla,  and 
other  subjects.  In  a  clitf  called  Poggio 
Prisca  there  is  a  long  line  of  facades  of 
the  general  character  of  those  of  Norchia 
and  Castel  d'Asso,  with  doors  converging 
upward,  horizontal  mouldings,  and  heavy 
concave  cornice  over  a  torus,  thus  pre- 
senting a  pseudo-Egyptian  or  Phoenician 
type.  The  Grotta  Pola  resembles  the 
facade  of  a  pedimented  temple,  with  col- 
umns of  Corinthian  tendency,  but  show- 
ing human  heads  among  the  foliage  of 
the  capitals.  These  monuments  are  not 
considered  to  be  verv  earlv  in  date. 
S0L:\[0XA.  Italy.  " 

The  AycEDL'CT,  built  in  12.5(J,  accord- 
ing to  the  long  inscription  still  remaining 
at  the  end  of  it,  over  the  fountain,  is  one 
of  the  finest  mediieval  works  of  the  kind. 
It  is  well  built  of  hu'ge  blocks  of  stone,  and 
consists  of  a  series  of  broad  pointed  arch- 
es, resting  on  square  piers  surmounted  by 
a  simply  moulded  plinth.  Starting  in 
the  main  square,  it  takes  a  bend,  and  ris- 
ing as  it  proceeds,  cuts  through  the  city. 
[A.  L.  E.,  Jr.] 

The  Church  of  S.  Euaxcesco  was  built 


in  Vm)  or  12'.)-1  by  Charles  II..  of  Aujou, 
and  must  have  been  one  of  the  finest 
works  erected  by  him,  for  Solmona  was 
his  favorite  city.  The  remaining  part  of 
the  facade,  with  its  colossal  round-arched 
2Dortal,  is  the  most  impressive  work  in  this 
city,  which  is  full  of  Gothic  and  Kenais- 
sance  buildings.  The  height  of  the  door- 
way is  about  30  ft.  [A.  L.  F.,  Jr.] 
SOKA,  Italy. 

S.  DoMEXico,  an  ancient  basilica  some 
two  miles  east  of  the  town,  consecrated  in 
1104  by  Pope  Pascal  II.,  and  consider- 
ably altered  in  1680.  Its  plan  is  rectan- 
gular, with  nave  and  aisles  separated  by 
five  arches  on  each  side,  springing  from 
sections  of  wall,  with  corresponding  jjilas- 
ters  on  the  aisle-walls,  but  with  no  trans- 
verse arches  nor  vaulting.  The  transept 
is  rectangular,  with  three  eastern  apses, 
and  with  a  crypt  under  it  divided  into 
seven  aisles  of  three  bays  each,  the  middle 
aisle  broadest.  The  crypt  vaulting  is  car- 
ried on  sixteen  marble  columns,  and  there 
are  here  three  apses  as  in  the  upper 
church. 

SOVANA.     See  Soana. 
SPALATO,    miscalled    Spalatro,    Daluui- 
tia. 

Tlie  Baptistery,  or  church  of  St.  John 
the  Bajitist,  is  the  small  temjile  of  Diocle- 
tian's palace,  standing  west  of  the  jieri- 
style,  and  is  said  to  have  been  dedicated  to 
.Esculapius.  It  is  rectangular,  on  a  lofty 
podium  with  vaulted  cryjit  beneath,  and 
had  originally  a  tetrastyle  Corinthian  por- 
tico, now  destroyed  together  with  the 
front  pediment.  The  interior,  which  has 
been  perfectly  preserved  since  its  erec- 
tion, is  covered  by  a  barrel-vault  of  stone 
sunk  in  square  coffers.  This  vault  is 
built  of  huge  stones,  of  which  three 
courses  complete  the  semicircle,  and  forms 
the  exterior  roof  of  the  temple  between 
the  two  end  pediments.  The  doorway. 
1.")  ft.  higli,  is  formed  of  three  pieces, 
the  liead  being  mitred  to  the  jambs.  It  is 
bordered    by    sculjitured    scroll    work    in 


464 


SPALATO 


which  figures  ami  animals  are  entwined, 
all  roughly  and  hastily  executed.  Tlie 
baptistery  contains  a  cruciform  marble 
font  made  up  of  various  fragments,  and 
sculptured  with  grotesque  figures.  A  fine 
Roman  sarcophagus  which  formerly  stood 
on  the  platform  before  the  temple  has 
been  removed  to  the  museum. 

Cathedral  (Duomo).  The  temple 
in  Diocletian's  palace  supposed  to  have 
been  dedicated  to  Jupiter,  but  more 
probably  the  emperor's  mausoleum,  is 
now  the  duomo  of  Spalato.  It  stands  in 
a  small  court  east  of  the  peristyle  of  the 
f)alaee,  from  which  a  flight  of  steps  leads 
up  to  it.  It  is  octagonal  with  a  sur- 
rounding Corinthian  peristyle,  and  had 
formerly  a  projecting  porch  in  front,  now 
replaced  by  a  campanile.  A  low,  red- 
tiled  pyramidal  roof  with  xiii  cent.  Ro- 
manesque finial  covers  the  building  and 
conceals  an  interior  dome.  Beneath  the 
church  is  a  roughly  vaulted  crypt  ap- 
proached by  a  passage  under  the  entrance 
steps,  and  lighted  by  openings  iu  the 
pavement  of  the  peristyle.  The  interior 
is  a  circular  chamber  43  ft.  iu  diameter, 
divided  into  eight  bays  by  two  orders  of 
detached  columns.  The  entrance  occu- 
pies one  bay,  and  the  others  contain  large 
arched  niches  alternately  square  and  semi- 
circular. The  columns  of  the  lower  order 
are  of  granite  with  Corinthian  capitals ; 
those  of  the  upper  one  are  alternate  pairs 
of  granite  and  porphyry.  The  columns 
are  purely  ornamental  and  support  only 
returns  of  the  two  entablatures  which 
surround  the  building.  These  are  richly 
though  rudely  decorated,  but  in  design 
depart  widely  from  classic  models.  The 
upper  columns  ai'e  but  seven  diameters 
high  and  without  bases.  At  the  level  of 
their  Composite  capitals  a  sculptured  frieze 
surrounds  the  wall  with  figures  of  winged 
boys  and  animals.  The  dome  is  con- 
structed for  half  its  lieight  of  a  series  of 
brick  relieving-arches  curiously  arranged 
like  scales.     Two  elaborate  Gothic  cano- 


pied shrines  occupy  the  niches  on  either 
side  the  liigli  altar.  The  jjulpit  is  a  pure 
Romanesque  work  of  the  xiii  cent.,  in 
fine  limestone  and  variously  colored  mar- 
ble. The  body,  elaborately  carved,  is 
hexagonal,  decorated  with  coupled  col- 
onnettes,  and  stands  on  six  octagonal  col- 
umns united  by  round  arches.  There  are 
some  carved  choir  stalls  of  the  xiii  and 
XV  cents.,  in  a  modern  rectangular  choir 
built  to  the  east  of  the  church  and  con- 
nected with  it  by  a  door  cut  through  the 
wall  opposite  the  entrance.  The  whole 
building  has  been  recently  restored,  much 
to  the  injury  of  its  antique  character 
The  entrance  to  the  church  is  through 
the  interesting  camjDauile  belonging  to 
the  xiv-xvi  cents.,  which  has  replaced 
the  original  portico.  This  is  of  five 
stories,  square  in  plan,  surmounted  by  an 
octagonal  lantern  and  low  S2)ire.  Its 
foundation  is  unknown,  but  the  first  two 
stories  are  ascribed  to  ilaria  of  Hungary 
(d.  1323).  Both  have  exterior  arcading 
constructed  of  antique  columns  and  capi- 
tals, and  enriched  with  sculpture  of  By- 
zantine and  Venetian  character.  The 
next  three  stories,  attributed  to  the  xv 
cent.,  are  rich  in  porphyry  and  verd-au- 
tique  spoils  from  older  buildings.  Their 
groujjcd  openings  are  round-arched  with 
midwall  shafts. 

Palace  of  Diocletian,  built  by  Dio- 
cletian, who  was  born  in  Salona,  three 
miles  N.  E.  of  Spalato,  and  after  his  ab- 
dication (a.d.  305),  spent  here  the  last 
nine  years  of  his  life.  It  was  a  fortified 
palace,  somewhat  in  the  form  of  a  praeto- 
rian camp,  of  nearly  rectangular  form, 
59"-J  ft.  on  the  south  side,  .570  ft.  on  the 
north  side,  and  098  ft.  on  the  east  and 
west  sides,  thus  enclosing  more  than  eight 
acres.  The  south  side,  overhanging  the 
sea,  was  entirely  occupied  by  a  magnificent 
open  arcaded  portico  lii  ft.  wide.  Tlie 
other  sides  were  lofty  walls  of  solid  and 
plain  construction,  broken  by  ten  massive 
square  towers,  regularly  disposed.     In  the 


SPARTA 


middle  of  each  side  was  a  great  gate, 
flanked  b.v  octagonal  towers,  giving  access 
to  two  streets  :3(i  ft.  wide  crossing  at  right 
angles  in  the  centre  of  the  quadrangle, 
thus  practically  dividing  it  into  four 
blocks  of  buildings.  These  streets  were 
l)ordercd  l)y  arcades  13  ft.  wide.  The  two 
north  quarters  are  an  indistinguishable 
mass  of  ruins ;  tliey  were  probably  occu- 
pied by  guests  and  officers  of  the  palace. 
The  street  running  north  and  south  is  the 
jirincipal  avenue.  It  is  entered  at  the 
north  end  by  the  Porta  Aurea  (golden 
gate) ;  in  the  middle  of  this  side  and  after 
crossing  the  other  avenue,  is  the  centre  of 
the  quadrangle  ;  it  opens  into  the  great 
court  of  the  palace,  now  the  Piazza  del 
Duomo,  a  large  square  surrounded  by  an 
arcade  supjiorted  on  each  side  by  six 
granite  Corinthian  columns  with  marble 
lattices  between.  At  the  south  end  of  the 
court  a  flight  of  steps  gave  access  to 
a  tetrastyle  Corinthian  jjortico,  which 
opened  into  the  ri'xlibuluiii,  a  circular 
apartment  38f  ft.  in  diameter,  lighted 
from  the  roof.  Beyond  this  was  the 
quadrangular  atrium,  98  ft.  by  45^  ft.  (in 
the  centre  of  the  seaward  front),  from 
which  access  was  had  on  the  east  and  west 
sides  to  a  magnificent  suite  of  apartments, 
occupying  the  principal  part  of  the  south 
front.  Beyond  these  on  the  right  were 
the  private  apartments  of  the  emperor. 
On  each  side  of  the  court  of  the  palace, 
near  the  centre,  there  is  an  area  of  154  ft. 
by  94  ft.,  containing  a  monumental  struct- 
ure ;  that  on  the  east  the  so-called  Tem- 
2)le  of  .Jupiter,  now  the  Duomo  {q.  v.), 
which  is  in  fact  the  Mausoleum  of  Dio- 
cletian, and  on  the  west  side  the  Temple 
of  .Esculapius,  now  the  Ba))tistcry  (c/.  /•.). 
The  material  is  a  limestone  l)ut  little 
inferior  to  marble,  from  the  (piarries  at 
Trail.  The  arches  of  the  central  court  are 
of  great  importance  in  the  history  of  archi- 
tecture as  the  earliest  to  which  a  pre- 
cise date  can  be  assigned,  which  consist- 
ently spring   directly  from  the  abaci   of 


the  columns,  abandoning  the  earlier  Ro- 
man fashion  of  an  intervening  jiiece  of  en- 
talilature.  The  same  principle  was  a])- 
plied  at  nearly  the  same  time  in  various 
Syrian  buildings.  The  Palace  of  Diocle- 
tian thus  at  once  belongs  to  the  decadence 
of  purely  Roman  art,  and  marks  the  dawn 
of  the  era  of  modern  art. 
SPARTA,  Greece. 

Amphitheatre,  east  of  the  Acropolis, 
near  the  river  ;  a  brick  building  of  late 
Roman  period.  Leake  calls  it  a  circus, 
and  thinks  it  jjerhaj^s  the  smallest  in  ex- 
istence. It  is  nearly  circular  ;  the  greater 
diameter  being  180  ft.,  that  of  the  arena 
(Si  ft.  The  walls,  about  IG  ft.  thick,  are 
supported  on  the  outside  by  large  but- 
tresses at  small  distances  apart.  No  seats 
remain. 

Theatre,  on  the  S.  W.  side  of  the  hill 
of  the  Acrojjolis,  in  which  it  is  partly  ex- 
cavated ;  but  the  wings  of  the  cavea  are 
wholly  built  in  stone.  The  stage  struct- 
ure is  a  Roman  construction  of  brick. 
The  exterior  diameter  is  over  430  ft.,  or- 
chestra about  105  ft.  The  seats  are  mostly 
or  entirely  gone.  Pausanias  says  it  was 
built  of  white  marble  and  was  one  of  the 
sights  of  Sparta.  The  remains  are  in 
great  part  hidden  under  earth  washed 
from  above. 

Tomb  of  Leoxidas  (opposite  the  Thea- 
tre), whose  bones  were  brought  from 
Thermopyhe  and  placed  in  it  forty  years 
after  his  death.  The  name  is  popularly 
given  now  to  an  imposing  ruin  about  45 
ft.  by  23  ft.,  built  of  large  quadrangular 
blocks,  which  stands  to  the  north  of  the 
modern  town.  This  ruin  is  apparently 
a  heroon.  but  can  hardly  be  tliat  of  Leoni- 
das,  as  it  is  too  far  from  the  theatre  to 
agree  with  the  ancient  record. 
SPELTjO    (anc.     Ilispeliuin    or    Colouia 

■Julia),  Italy. 

Cathedral  (Sta.  Maria  Maggioi-c)  a 
churcli  that  was  Gothic,  entirely  trans- 
formed in  aspect  during  the  xvi  cen- 
turv.      It  has  an  aisleless  nave  in  four  low. 


466 


SPOLETO 


groined  bays,  and  a  olioir  tliat  ends  in  a 
seven-sided  apse.  Tlie  halduecliino  over 
the  liigli  altar,  a  domed  canopy  on  four 
liglit  columns,  of  very  graceful  detail,  and 
one  of  the  most  elegant  examples  of  the 
early  Renaissance,  is  the  work  of  Rocco  of 
Vicenza.  who  remodelled  the  choir  in 
1515.  The  fa(,-ade,  of  1064,  has  au  ef- 
fective portal. 

S.  AxDUEA,  belonging  to  the  Francis- 
cans, is  a  cruciform  church  with  a  single 
nave  and  three  apses,  built  after  the  middle 
of  the  XIII  century.  The  four  bays  of  its 
nave  have  oblong  groined  vaults  with  pen- 
tagonal ribs,  and  are  similar  to  those  of  the 
Cistercian  church  of  Monte  I'Abate  {rj.  v.). 
Similar  oblong  vaults  cover  the  three  com- 
j)artments  of  the  transept.  [A.  L.  F., 
Jr.] 

The  Triumphal  Arch  is  supposed  to 
have  been  dedicated  to  the  emperor 
Macrinus  (a.d.  21?).  It  is  very  ruinous  ; 
as  restored  by  Rossini  it  had  a  central 
arch  with  a  smaller  arch  on  each  side, 
separated  by  four  Doric  pilasters  support- 
ing an  entablature,  above  which  was  au 
attic  with  six  engaged  Doric  half-columns. 

The  ancient  Walls,  with  towers,  are  in 
themselves  noteworthy,  and  preserve  im- 
portant remains  of  three  gates.  One  of 
these,  the  Porta  Consolare,  is  built  of 
limestone  resembling  marble,  and  has 
three  archways.  On  the  exterior  face,  on 
consoles  over  the  arches,  stand  draped 
statues  of  late  date.  Another  gate,  the 
Porta  Venere.  on  the  S.  W.  side,  has  a 
decorated  triple  archway  causing  it  to 
resemble  a  triumjjhal  arch  ;  it  is  flanked 
by  two  towers  of  much  later  date.  The 
Porta  Urbana,  between  the  two  others, 
in  a  fine  stretch  of  ancient  wall,  is  now 
blocked  up.  About  a  mile  outside  of  the 
Porta  Consolare  are  ruins  of  an  amphi- 
theatre, now  overgrown  with  grass. 
SPOLETO  (anc.  Spoletium),'ltaly. 

Cathedral  (Sta.  Maria  Assunta),  orig- 
inally a  Lombard  or  Romanesque  build- 
ing,   now    much    modernized,    esfjeeially 


within,  hut  retaining  on  the  exterior 
much  of  its  lirst  character.  The  facade 
has  a  noteworthy  Reiuiissance  jjorch  with 
five  circular  arches,  springing  from  an- 
cient columns,  and  above  these  a  frieze 
charged  with  sculpture.  At  each  angle  of 
the  jJorch  is  a  stone  pulpit.  In  the  gable 
is  a  fine  rose  window,  and  the  rake  of  the 
gable  is  masked  by  a  gallery.  Over  the 
porch  is  a  large  mosaic  of  the  Saviour 
tlironed  between  the  Virgin  and  St.  John, 
and  bearing  the  name  of  the  artist,  Salse- 
ruus,  with  the  date  1207.  The  bishop's 
chair  was  removed  to  this  church  from 
S.  Pietro,  the  earlier  cathedral,  in  1007, 
this  being  nearly  the  date  of  tlie  comjile- 
tion  of  the  interior  of  the  present  church. 
There  is  a  great  campanile  with  a  loggia 
at  its  base,  and  terminated  by  a  spire,  the 
former  added  in  1410,  the  latter  in  1519. 
The  interior,  which  was  rebuilt  in  1644 
in  the  Renaissance  style,  is  remarkable 
only  for  its  frescoes  dating  from  1378  and 
later.  Those  in  the  choir  are  by  Filippo 
Lijjpi.  whose  tomb  is  here. 

Sta.  Maria  di  Loreto.  a  xvi  cent. 
Renaissance  church,  covering  a  square  of 
about  120  ft.,  but  inwardly  a  Oreek  cross 
with  three  square  arms  covered  liy  barrel- 
vaults,  and  one  semicircular,  the  latter 
forming  the  choir  and  covered  by  a  semi- 
dome.  The  interior  is  surrounded  by  an 
order  of  Corinthian  jiilasters,  from  the  en- 
tablature of  which  spring  the  barrel-vaults 
of  the  arms  and  four  great  round  arches, 
upon  which  it  was  manifestly  intended  to 
raise  a  central  dome,  which,  however,  was 
never  built.  The  angles  of  the  square  are 
filled  with  chajjels  and  sacristies.  The 
architect  is  not  known. 

S.  PiETRO  (St.  Peter),  a  singular  Ro- 
manesque church,  standing  just  outside 
the  walls  of  the  town,  on  a  hill,  and  aj)- 
proached  by  a  long  staircase.  The  facade 
is  a  square  mass  of  stonework  with  much 
cui-ious  sculpture,  in  two  stories  separated 
by  a  quasi-classic  cornice.  The  first  is 
very   high   and   divided   by  flat   pilasters 


STAMBOUL 


into  five  compartments,  of  wliicli  the  cen- 
trul  (iiie  contains  a  lars^e  siniare  doorway, 
snrronnded  by  a  broad  baud  of  sculpture 
of  Byzantine  character,  flanked  by  two 
panels  of  similar  treatment,  with  arcades 
and  bas-reliefs.  Above  the  door  is  a  cir- 
cular window,  now  walled  uj),  and  di- 
minished to  a  horseshoe  arch  by  the  en- 
croaching door-licad.  On  either  side  of 
the  central  division  is  a  vertical  row  of 
panels  filled  with  grotesque  bas-reliefs. 
The  side  divisions  have  each  a  scpiarc  door 
with  a  round  bearing-arch  above  it.  The 
second  story  has  a  large  circular  w'iudow 
in  the  middle,  now  partially  filled  up,  en- 
closed in  a  scpuire  panel  with  decorated 
border  and  figures  in  the  four  corners. 
On  either  side  is  a  small  circle  with  coarse 
Gothic  tracery,  and  a  similar  circle  over 
each  of  tlie  side  doorways.  The  interior 
is  modernized.  This  church  in  its  origi- 
nal form  dates  probably  from  the  middle 
part  of  the  vi  cent.,  and  was  until  lOOT 
the  cathedral  church.  During  the  fierce 
wars  of  the  following  centuries  it  was  suc- 
cessively destroyed  by  Goths,  Saracens, 
and  Ghibellines,  and  as  often  rebuilt,  the 
last  rebuilding  having  been  accomplished 
in  13"^9.  The  fa9ade,  or  at  least  its  lower 
story,  is  probably  much  earlier  than  this, 
and  a  part  of  its  grotesque  sculptures  are 
thought  to  be  as  old  as  the  end  of  the  VI 
century. 

Among  the  remains  of  antiquity  are  the 
Porta  d'Aunibale,  a  plain  arched  gate- 
way in  massive  masonry  spanning  the 
principal  street.  The  relief  of  a  lion  de- 
vouring a  lamb  is  a  medii^val  addition. 
The  Chiesa  del  C'rocifisso,  wdiose  facade 
and  interior  disposition  are  those  of  a 
Christian  basilica  of  the  time  of  Con- 
stautine,  retains  some  of  the  columns 
and  portions  of  the  walls  of  a  temple  be- 
lieved to  have  been  that  of  Concord.  S. 
Andrea,  now  used  as  barracks,  possesseil 
fluted  Corinthian  columns  from  the  tem- 
ple of  Jupiter,  and  in  San  (Jiuliano  are 
seen  fragments  of  the  Temjile  of  JIars. 


A   massive   ruin    is  called    the    Palace    of 

Tlu'oduric. 

STAMBOUL.     See  ConsfantiiiopU'. 

STILO,  Italy. 

L.v  Cattolica,  a  small  but  charac- 
teristic examjjle  of  a  Byzantine  church. 
It  is  a  cubical  mass  only  about  25  ft. 
square,  its  plan  divided  in  Byzantine 
fashion  into  nine  bays  by  cross  arches  sup- 
ported on  four  plain  marble  shafts  with- 
out bases,  and  with  rude  block  capitals. 
In  the  east  side  are  three  round  apses. 
The  central  bay  is  covered  by  a  liemi- 
sperical  dome  on  a  high  druui,  the  four 
bays  that  abut  against  it  forming  a  Greek 
cross  are  barrel-vaulted,  and  the  four 
corner  bays  covered  with  domes  like  tlie 
central  dome,  but  lower.  The  exterior 
is  of  brick,  each  side  being  covered  by  a 
low  gable.  In  tlie  west  side  is  a  plain 
high  round-arched  doorway.  Out  of  the 
roof  rise  the  five  domes,  but  appearing 
each  a  cylinder  with  low  tiled  roof.  The 
wall  surface  in  all  is  covered  with  a  fine 
diaper  in  terra  cotta.  Under  the  church 
is  a  crypt,  with  vaults  carried  on  columns 
with  capitals  of  various  form,  some  with 
stilt-blocks.  The  date  of  the  church  is 
uncertain,  but  it  has  been  assigneil  to  the 
VIII  cent.,  and  more  probably  to  tlie  ix. 
STIRIS,  near  Delphi,  Greece. 

The  CoxvEXT  OF  St.  Luke,  founded  in 
the  middle  of  the  X  cent.,  contains  two 
early  Byzantine  churches  ;  the  larger,  dat- 
ing probably  from  the  beginning  of  the 
XI  cent.,  is  one  of  the  most  important  and 
best  preserved  Byzantine  churches  in 
Greece.  It  has  banded  walls  of  brick  and 
stone,  two  stories  high,  with  a  central 
dome  on  a  drum  of  sixteen  sides  above  a 
square  base,  from  which  radiate  the  roofs 
of  the  nave,  choir,  and  transept,  ending  in 
gables  in  the  middle  of  each  fagade.  It  is 
about  55  ft.  by  100  ft.,  and  is  entered 
from  the  west  through  a  plain  narthex 
later  than  the  rest,  crossing  the  front. 
Within  this  is  the  original  narthex,  in 
three  groined  bavs  lined  throughout  with 


468 


STEATONICEA 


a  rich  facing  of  marbles.  The  great  dome 
is  carried  not  ou  peiidcii lives,  but  on 
squiiiches,  by  eight  piers.  An  upper  gal- 
lery over  the  aisles  correspouds  to  the  sec- 
ond story  of  the  exterior,  crossing  the 
transept  on  arcades,  and  connecting  with 
tlie  npper  story  of  the  original  narthex. 
It  is  entered  from  without,  and  was  douljt- 
less  intended  as  a  gyneca?uni,  or  women's 
gallery,  for  the  community  outside  tlie 
monastery.  The  sanctuary,  behind  the 
dome,  is  a  square  bay,  widened  by  a  shal- 
low niche  on  each  side,  and  behind  it  is 
the  usual  Byzantine  apse,  round  within 
and  polygonal  witliout,  lined  with  stone 
benches  for  the  clergy,  and  lighted  by  two 
stories  of  twin  windows.  The  whole  in- 
terior, lip  to  the  springing  of  the  vaults, 
is  clad  in  a  rich  wainscoting  of  colored 
marbles  ;  the  iconostasis,  or  screen  before 
the  sanctuary,  is  an  elaborately  decorated 
composition  of  like  materials,  and  the 
floor  is  laid  with  them  in  slabs  and  l)ands. 
All  the  vaults  and  domes,  including  tliose 
of  the  inner  narthex,  are  lined  with  mo- 
saics on  a  gold  ground  depicting  in  great 
variety  scenes  from  the  lives  of  Christ  and 
of  the  saints,  and  from  Bi1)lc  history,  with 
a  profusion  of  ornamental  detail,  giving 
an  effect  of  great  splendor,  though  marred 
by  dilapidation  and  dimmed  by  the  block- 
ing up  of  many  windows. 

Adjoining  the  greater  church,  on  the 
right  of  its  sanctuary,  is  the  snialler  and 
simpler  church,  on  the  common  Byzantine 
plan  of  a  Greek  cross  inclosed  in  a  square, 
with  a  central  dome  on  four  round  jiiers, 
and  three  eastern  apses  of  Byzantine  form. 
Across  the  front  of  it  is  a  great  nartliex, 
three  bays  in  width  and  two  in  depth, 
groin-vaulted,  and  communicating  with 
the  greater  church. 

STKATOXICEA    (Eski  -  Hissar),    Caria, 
Asia  Minor, 

Tlie  Temple  of  Hecate  (?),  Corinthian, 
hexastyle,  prostyle,  is  raised  on  a  base- 
ment with  six  stejjs  in  front,  between  pro- 
jecting piers.     Behind  the  front  portico 


the  temple  has  a  pronaos  with  four  col- 
umns ('/(  aii/ix,  and  beliind  tliis  a  vestibule 
formed  by  anta;  jirojocting  at  right  angles 
from  the  side  walls,  and  with  two  columns 
in  the  of)eu  space  between  them.  At 
either  side  of  the  vestibule  there  were 
small  ehaml)ers,  which  may  have  contained 
stairs.  Back  of  the  vestibule  were  tliree 
cellasside  by  side,  each  with  its  own  door. 
That  on  the  left-hand  side  appears  to  have 
had  also  a  second  door,  in  the  exterior 
side  wall.  The  extreme  dimensions  are 
SO  ft,  by  115  ft.  Fragments  remain  of 
the  coffered  ceilings.  The  temple  stood 
in  the  middle  of  a  large  square  peribolos 
or  enclosure. 

The  ancient  Walls,  Avith  rectangular 
towers,  have  left  extensive  remains,  and 
there  are  a  number  of  important  ruins 
witliin  tlie  enclosure.  Among  these  there 
is,  on  the  north  side,  what  was  a]>parently 
a  monumental  propylanim,  with  arches 
preceded  by  a  portico  of  ten  unfluted  Co- 
rinthian columns  on  the  inner  face.  At 
some  distance  in  front  of  tliis,  and  in 
alignment  with  it,  there  was  a  large  co- 
lumnar structure,  also  with  a  decastyle 
portico.  Outside  the  walls  was  an  ex- 
tensive street  bordered  witli  porticoes,  be- 
ginning at  the  propylffium. 
ST  RAT  OS.  Acarnania,  Greece. 

DoEic  Temple,  jieripteral,  in  plan  111^ 
ft.  by  60  ft.  Tlie  crepidoma  survives  en- 
tire, and  the  lowest  drums  of  most  of  the 
columns  remain  in  place.  A  large  altar 
stands  before  the  east  front  ;  near  it  were 
found  a  quantity  of  fragments  of  terra- 
cotta figurines.  In  the  neigliborhood  of 
the  temple  the  French  School  has  discov- 
ered a  large  buihling  of  the  character  of  a 
stoa,  which  may  have  fronted  on  tlie 
agora. 
SUBIACO,  Italy. 

St.v,  Scolastica  was  one  of  twelve 
monasteries  founded  by  St.  Benedict  in 
the  neighborhood  of  Subiaco,  all  of  whicli 
came  to  be  populous  and  richly  endowed. 
They  were  devastated  by  repeated  incur- 


SUESSA 


sions  of  the  Lombards  and  Saracens  in  tlie 
VII  and  VIII  ccntnrie.s.  The  old  church 
of  Sta..Scolastica  was  restored  in  1)81  by 
Benedict  \  II.  (who  built  also  the  cliai)el 
of  the  Sacro  Sjjuco),  its  low  I'oof  being  sup- 
ported by  five  great  pointed  cross-arches. 
It  was  rebuilt  in  the  xviii  ceiit.,  by  Pius 
VI.,  with  an  order  of  Ionic  columns  set 
against  the  old  piers,  supporting  an  en- 
tablature, from  which  springs  a  circular 
barrel-vault  divided  by  transverse  arches. 
The  choir,  a  single  oblong  bay  with  semi- 
circular apse,  remains,  but  quite  modern- 
ized to  accord  with  the  new  nave.  The 
five  great  arches  of  the  old  church  still 
remain,  the  new  vault  of  the  nave  being 
built  under  them.  The  square  raediajval 
tower  also  remains,  in  several  stages,  with 
grouped  round-arched  windows  divided  by 
columns.  The  two  cloisters  of  the  old 
monastery  are  still  in  existence  :  the  larg- 
er one,  dating  from  1053,  has  two  stages, 
the  lower,  strange  to  say,  with  plain  point- 
ed arched  ojienings  in  a  solid  wall,  and 
a  second  story  of  dormitories  with  small 
square  windows.  The  other  cloister  dates 
from  1230  and  has  slightly  stilted  round 
arches  on  slender  columns  in  groups  of 
four,  five,  and  six,  between  piers,  and 
raised  on  a  stvlobate. 
SFESS.V  AITHUNCA.  See  Sessa. 
SUNIL'.M.  Attica,  Greece. 

Temple  of  Atiiexa  Suxias  (Pallas  of 
Sunium),  on  a  rugged  promontory  forming 
the  southernmost  point  of  Attica.  The 
walls  of  the  jierilxdos,  built  of  coarse 
stone  faced  on  the  outside  with  white  mar- 
ble, may  be  traced  down  to  the  sliorc. 
The  entrance  was  jjcrhaps  through  pro])y- 
laja.  The  temple  was  probably  of  the  v 
century  n.f.  It  was  Doric,  hexastyle,  pe- 
ripteral, on  a  stylobate  of  three  steps  ;  the 
material  coarse  white  marble.  Nine  col- 
umns are  still  standing  of  the  south  jieri- 
style  and  two  of  the  opposite  side.  Two 
columns  of  the  pronaos  survive,  with  one 
of  the  antfe  and  a  portion  of  the  other. 
The  architrave  blocks  still  rest  ujion  the 


columns.     The  frieze  was  sculptured  with 

reliefs  representing  the  deeds  of  Theseus, 

particularly  the  battle  of  the  Centaurs  and 

Lapiths. 

SUH.     See  7'i/re. 

SUSA  (anc.  Segusio),  Italy. 

Tru'mi'iial  Arch  of  white  marble, 
erected  in  honor  of  Augustus  about  8  B.C., 
by  the  Gallic  chieftain  Cottius,  who  be- 
came in  his  reign  an  ally  of  the  Roman 
empire.  The  inscription  on  the  attic 
enumerates  fourteen  tribes  subject  to 
Cottius.  The  ground-plan  measures  29^ 
ft.  by  19i  ft.;  the  height  is  41  ft.  The 
monument  is  pierced  with  a  single  arch- 
way of  IG  ft.  S2)an  and  24J  ft.  high,  hav- 
ing a  pilaster  with  Corinthian  capitals 
on  each  side,  and  encircled  by  a  Corin- 
thian order  with  a  fluted  column  at  each 
corner,  on  a  pedestal  2^  ft.  high. 
SUT1\I  (anc.  Sutrium),  Etruria,  Italy. 

Amphitheatre,  hewn  from  the  tufa 
rock,  the  only  such  example  known.  It 
is  small  and  somewhat  irregular  in  plan, 
probably  owing  to  its  having  been  formed 
in  a  pre-existing  stone-quarry.  It  is  as- 
signed to  the  imperial  epoch,  though 
early  students  held  it  to  be  Etruscan. 
The  axes  of  the  arena  are  164  ft.  and  132 
ft. ;  the  surrounding  podium  is  skirted  by 
a  vaulted  corridor,  a  very  rare  feature. 
Precinctions  interrupt  the  tiers  of  seats 
at  frequent  intervals,  and  a  broad  gallery 
surrounds  the  top  of  the  auditorium.  At 
intervals  about  half-way  up  the  slope  of 
the  scats  are  placed  nine  curious  arched 
alcoves,  sheltering  benches,  probably  seats 
of  honor  I'm-  the  local  magistrates.  The 
voinit(n-ia  are  interesting  and  very  per- 
fect, as  are  the  arrangements  for  drain- 
age. 
SrWKDA,   llaurau.  Syria. 

The  ruined  Basilica  is  a  large  church, 
with  double  aisles,  a  closed  narthex,  and 
a  deep  sanctuary  of  two  straight  bays  and 
a  round  apse,  flanked  by  the  two  usual 
chambers  or  sacristies.  The  whole  length 
is  220  ft.,  the  width  of  the  nave  40  ft. 


4~0 


SUWEIDIYEH 


There  were  double  tircades  on  ear-li  side 
the  nave,  supported  by  twenty-eight  col- 
umns, some  of  whose  rather  rude  capitals, 
apparently  taken  from  some  older  build- 
ing, are  still  found.  The  aisles,  sanctuary, 
and  narthex  were  roofed  with  stone  slabs 
and  the  nave  with  wood.  The  church 
was  jirobably  built  in  the  v  centui-y. 

Temple,  with  thirteen  Corinthian  col- 
umns standing  out  of  the  twenty-two  of 
its  peristyle.  There  are  some  smaller  col- 
umns /«  sifii  in  the  interior  of  the  cella. 
The  design  of  capitals  and  cornice  is  stiff 
and  poor. 

Tomb  of  Chamra.  wife  of  Odenathus, 
dating  probably  from  the  i  century  a.d. 
It  is  of  square  plan,  about  36  ft.  on  a  side, 
and  of  massive  construction.  On  a  stere- 
obate  of  two  steps  stand  on  each  face  six 
somewhat  rude  engaged  Doric  semi-col- 
umns, the  wall  between  which  bears  cu- 
rious round  and  oval  knobs.  The  total 
height  was  about  40  ft. 
SUWEIDIYEH.  See  Seleucia  Pieria. 
SYKACUSE  (Siracusa),  Sicily. 

Altar  of  Hieron  II.,  near  the  theatre, 
discovered  in  18-39.  This  gigantic  altar, 
built  for  the  annual  sacrifice  of  four  hun- 
dred and  fifty  oxen,  was  reputed  in  antiq- 
uity to  be  a  stadium  (furlong)  in  length. 
The  substructions  were  partly  cut  from 
the  rock  and  partly  constructed  of  mason- 
ry, and  are  adorned  with  mouldings,  and 
covered  in  parts  with  stucco.  Part  of  the 
steps  ascending  to  the  platform  survive, 
and  portions  of  a  Doric  entablature  of  late 
type.  The  existing  foundations  are  04.5 
ft.  by  75  ft.  The  altar  was  built  or  re- 
stored by  Ilieron  between   20.5   and    215 

B.C. 

Amphitheatre,  on  the  slope  of  the 
hill  below  the  present  cliaj)el  of  S.  Nicco- 
lo.  It  is  probably  of  the  time  of  Augus- 
tus or  Tiberius  (a.d.  28-3T).  On  one 
side  it  is  excavated  in  the  rock,  but  it  is 
built  up  with  masonry  on  the  lower  slope. 
The  arena,  whose  axes  are  229  ft.  and  121 
ft.,  is  surrounded  by  a  podium  about  T  ft. 


high,  under  which  there  is  a  vaulted  cor- 
ridor with  eight  gates,  opening  into  the 
arena.  In  the  middle  of  the  arena  is  a 
rectangular  cistern  55  ft.  by  28  f  t. ,  in  which 
stand  the  piers  that  supported  the  floor. 
The  seats  were  in  three  ranges  :  the  two 
lower  ranges,  hewn  from  the  rock,  still 
remain  in  the  eastern  half,  but  are  nearly 
gone  on  the  west  side.  The  arena  could 
be  supplied  with  water  from  a  subterra- 
nean reservoir  under  S.  Niccolo. 

The  Cathedral  (Sta.  IMaria  delle  Co- 
loune)  is  built  into  an  old  tem^jle  which  is 
identified  with  the  temple  of  Athena 
(Minerva),  built  in  the  yi  cent.  B.C.,  de- 
spoiled by  Verres,  and  described  in  Cicero's 
orations  against  him.  The  cella  was 
taken  for  the  nave,  the  main  arcades 
being  cut  through  its  walls  ;  the  lateral 
porticoes  became  the  aisles,  and  the  walls 
of  the  church  were  built  in  between  the 
columns  (7  ft.  in  diameter)  of  the  peri- 
style, which  show  in  many  places,  both 
outside  and  inside.  In  1093  an  earth- 
quake shook  down  the  front,  which  in  the 
course  of  half  a  century  was  replaced  by 
the  modern  baroco  fa9ade.  The  temple 
was  Doric,  hexastyle,  perijjteral,  with 
fourteen  (perhajis  fifteen)  columns  on  the 
flanks,  on  a  stylobate  of  three  steps ;  in 
plan  it  measured  75  ft.  by  188  ft.  The 
columns  have  twenty  channels  ;  their 
diameter  is,  at  the  base,  7  ft.,  at  the  neck, 
5  ft.  ( ?)  ;  their  height,  28  ft.  7  in.  ;  the 
iutercolumniation,  14  ft.  4  in.  There  is 
but  little  entasis  ;  the  triglyphs  are  nar- 
row ;  the  cornice  has  wholly  perished. 
Thirteen  columns  remain  of  the  north 
peristj-le,  and  nine  of  the  south,  as  well  as 
the  two  monolithic  colunnis  in  antis  of 
the  pronaos,  which  are  higher  than  the 
peristyle  columns.  The  ojiisthodomos  was 
destroyed  when  the  temple  was  converted 
into  a  church. 

Fort  Etryalos,  now  called  Mongibel- 
lesi,  on  the  ridge  between  the  citadel  and 
the  village  of  Belvedere.  It  is  a  massive 
construction  of  rectangular  masonrj-,  with 


471 


TADMOR 


broad,  srjuare  towers,  mid  w;is  skilfully 
placed  so  as  to  form  the  key  of  the  entire 
system  of  fortifit-itious.  It  is  still  one  of 
the  best  surviving  examjiles  of  an  ancient 
citadel.  The  site  was  strongly  fortified 
by  the  Syracusans  iu  the  course  of  the 
Athenian  Expedition,  but  the  existing  re- 
nuuns  are  attributed  to  Hieron  II.  (ii 
century  B.C.). 

The  O1.YMPIEUM,  or  Temple  of  Olym- 
pian Zeus,  about  two  miles  west  of  Ortygia 
(the  modern  city),  was  an  important  tem- 
ple in  which  were  preserved  the  ancient 
lists  of  citizenship,  and  may  be  assigned  to 
the  end  of  the  vii  century  B.C.  The  visible 
remains  consist  only  of  two  mutilated  col- 
umns. The  temple  was  Doric,  hexastyle, 
peripteral ;  the  columns,  of  sixteen  chan- 
nels, have  a  base  diameter  of  about  6  ft. 
2  in.,  and  an  intereolumniation  of  about 
12  ft.  Their  height  is  estimated  at  2G  ft. 
Interesting  remains  have  been  found  of 
the  revetment  of  the  cornice  and  other 
ornament  in  painted  terra-cotta. 

Temple  of  Apollo.  See  Tcni/ile  of 
Artemis. 

Temple  (of  Artemls  ?)  on  the  Island 
of  Ortygia,  an  archaic  example  of  Doric 
of  which  the  scanty  remains  are  now  vis- 
ible in  the  wall  of  a  private  house  in  the 
Vicodi  San  Paolo.  It  was  peripteral,  hexa- 
style, with  seventeen  monolithic  columns 
on  the  flanks,  on  a  stylobate  of  four  steps, 
with  very  narrow  intercolumuiations  on 
the  flanks  (the  front  intercolumuiations 
are  larger  and  vary)  and  shafts  with  six- 
teen channels,  tapering  but  little.  The 
capitals  are  wide-spreading,  so  that  the 
abaci  come  very  close  together,  and  there 
is  a  scotia  beneath  the  echinus.  Parts  of 
nineteen  columns  survive,  with  a  fragment 
of  the  architrave  and  ])arts  of  the  anta' 
of  the  pronaos  and  of  the  cella  wall. 
The  dimensions  were  about  77  ft.  by  172 
ft.,  the  columns  are  0  ft.  in  diameter  at 
the  base,  5  ft.  1  in.  (?)  at  the  neck,  and 
27  ft.  6  in.  high,  the  material  is  a  yellow 
tufa.      An   inscription    on    the    stylobate 


contains  the  name  of  Apollo,  whence  some 
authorities  attribute  the  temple  to  that 
god.  A  flight  of  steps  projects  before  the 
central  intereolumniation  of  the  front, 
and  an  inner  range  of  four  columns,  ex- 
tending between  the  third  columns  of  the 
flanks,  intervenes  between  the  front  ami 
the  pronaos,  which  had  two  columns  in 
antis.  There  were  no  regulae  and  gutt.e. 
The  type  of  the  temple  is  akin  to  that  of 
Temple  C  at  Selinus  ;  it  dates  at  least 
from  the  VII  cent.  B.C.,  perhaps  from  the 
VIII,  and  may  even  be  the  oldest  surviving 
example  of  a  Doric  temjile  built  wholly  in 
stone. 

TiiE.iTRE,  among  the  largest  of  the 
Greek  world,  built  between  480  and  40G 
B.C.  The  external  diameter  was  492  ft., 
that  of  the  orchestra,  110  ft.  The  cavea 
was  subdivided  by  two  precinctions  or 
horizontal  passages.  The  lowest  range, 
divided  by  flights  of  steps  into  nine  cunei, 
had  twenty-one  tiers  of  seats.  Kcnuiius 
of  forty-six  tiers  of  seats,  in  all,  are  trace- 
able ;  it  is  estimated  that  there  were  fif- 
teen more.  The  cavea  is  in  part  excavated 
from  the  rock  ;  the  seats  were  probably 
covered  with  marble. 
TAUMOK.  See  Palmyra. 
TAENARUM,  Lacouia,  Greece. 

Two  Temples,  probably  forming  part 
of  a  sanctuary  of  some  importance,  not  far 
from  the  monastery  of  Kourno.  That 
toward  the  north  was  a  small  Doric  edi- 
fice with  two  columns  in  antis.  The 
wheel-shnped  acroterium  is  noteworthy. 
The  larger  south  temple  is  a  perijiteros  of 
six  columns  by  seven,  the  angle-columns 
having  the  form  of  rectangular  piers  with 
semi-columns  toward  the  long  sides  of  the 
temple,  so  that  the  square  faces  of  the 
jiiers  arc  on  the  two  facades.  This  build- 
ini;  too  was  Doric,  liut  the  columns  had 
moulded  bases  ;  it  had  an  acroterium  of 
the  same  carved  wheel  t}^)e.  The  cella 
was  surrounded  on  the  outside  with  a 
triglyph  frieze,  and  paved  with  small 
stones.     The  dimensions,  measured  on  the 


472 


TAFKA 


edge  of  the  upper  of  the  two  steps  of  the 
stylobate.  are  31  ft.  10  in.  by  -^(i  ft.  9  in. 
TAFKA,  Central  Syria. 

The  Basilica,  an  interesting  early 
Cliristian  church,  differs  from  the  neig'h- 
boring  one  at  Shakka  {q.  v.)  only  in 
simpler  workmanship,  and  in  having  an 
elliptical  apse  in  the  rear  wall, 
and  a  square  tower  added  at  the 
left  of  the  front.  It  is  thought 
to  date  from  the  iv  or  v  cent., 
a  century  or  two  later  than 
Shakka.  ' 
TAGLIACOZZO.  Italy. 

S.  Fraxcesco  is  a  fine  exam- 
ple of   the   vaulted    Franciscan 
churches  of  the  xii  cent.,  with 
a  single  nave.     Its  ground-iilan 
is  cruciform,  with  three  bays  to 
its  nave,  two  to  its  transe23t,  and 
one    to    its    apse.     The    entire 
church  is  covered  with  ribbed 
groin-vaults  ;  those  over  the  nave 
are  nearly  square,  being  :5G  ft. 
wide  by  32   ft.   long,   and    the 
smaller  vaults  over  the  aisles  of  the  tran- 
sept are  of  similar  proportions,  but  the 
central  vaults  of  the  transept  and  that  of 
the  apse  are  much  narrower  and  oblong. 
The  fa9ade  has  a  charming  door  and  a 
tine  rose-window.     Of  about  the  same  pe- 
riod and  stvle  is  the  church  of  S.  Cosimo. 
[A.  L.  F.,  Jr.] 
TAORMINA  (anc.  Tauroraenium),  Sicily. 

AxciEXT  Theatre,  on  a  rocky  height 
east  of  the  town,  several  hundred  feet 
above  the  sea,  and  commanding  one  of  the 
finest  views  in  the  world,  including  Mt. 
Etna  and  the  seacoast  as  far  as  Messina. 
It  occupies  a  natural  hollow  in  the  side  of 
a  hill  facing  west,  the  seats  of  the  cavea 
being  hewn  from  the  solid  limestone  rock. 
It  is  perhaps  the  best  preserved  ancient 
theatre,  except  that  of  Aspendos.  It  is 
of  Greek  foundation,  but  Roman  remodel- 
ling, in  plan  a  little  larger  tlian  a  semi- 
circle, the  cavea  being  exteiuled  on  each 
side  about  lOJ  ft.     The  cavea  is  divided 


by  flights  of  steps  into  nine  cunei  or 
wedges,  and  by  two  2)recinctions  or  hori- 
zontal passages  into  three  ranges  of  seats. 
It  was  skirted  above  by  a  vaulted  gallery, 
with  ten  arches  opening  on  an  exterior 
corridor.  Above  this  gallery  there  was  a 
Corinthian  colonnade,  six  granite  columns 


Fig,  212. — Taormina,  Ancient  Theatre. 

of  which  are  still  standing.  The  diameter 
is  3571  ft.,  that  of  the  orchestra  I'^O  ft. 
The  stage-structure,  with  its  brick  con- 
struction and  marble  encrustation,  is 
Roman.-  The  back  wall  of  the  stage  is 
pierced  by  three  doors  with  three  niches 
between  each  pair,  and  one  at  each  end. 
The  niches  were  adorned  with  an  ad- 
vancing order  of  Corinthian  columns  in 
granite,  cipollino,  and  red  marble.  In 
the  second  story  there  was  also  a  range  of 
Corinthian  columns.  The  foundations 
remain  of  the  proscenium  wall.  The 
stage  measured  77^  ft.  by  38  ft.  Behind 
it  there  was  a  long  hall,  and  on  either  side 
flanking  chambers,  lieneath  the  stage  is 
a  vaulted  underground  passage  of  com- 
munication. {See  Fif).  212.) 
TARRACIXA.  See  'Terradua. 
TEGEA,  Arcadia,  Greece. 

The  Temple  of  Athexa  Alea  (Mi- 
nerva of  Aleus),  founded  by  Aleus,  foun- 
der of  the  city,  was  burned  in  395  B.C., 


473 


TEGGIANO 


cand  rebuilt  by  tlio  fainous  artist  Scopas  of 
Pares.  It  was  of  wliite  marble,  and  is  de- 
scribed as  excelling  in  beauty  of  design 
and  workmanship  all  other  temples  in  Pel- 
oponnesus. The  order  of  its  principal  col- 
umns, according  to  I'ausanias,  was  Doric, 
those  next  in  importance  were  Corinthian, 
and  others  were  Ionic.  The  pediments 
were  filled  with  statmiry.  The  ancient 
statue  of  Athena  Alca,  which  was  pre- 
served in  the  temple,  was  transported  to 
Rome  by  Augustus,  and  placed  at  the  en- 
trance to  his  new  forum.  The  tem2')le, 
partially  explored  in  18T9,  was  a  Doric 
periptcros  of  six  columns  by  fourteen  ; 
the  foundation,  of  large  blocks  of  breccia, 
measured  70  ft.  by  164  ft.  ;  the  lower 
diameter  of  column,  approximately  5  ft. 
11  in. ;  the  upper,  4  ft. ;  the  height,  20  ft. 
3  in.;  the  number  of  channels,  twenty. 
The  cornice  was  surmounted  by  a  cyma 
carved  in  relief  with  tlie  Ionic  vine  orna- 
ment, and  with  projecting  lion  heads. 
The  joints  were  covered  by  anthemia. 
The  roof  was  covered  with  marble  tiles  of 
the  usual  design. 
TEGGIANO  (Diano).  Apulia.  Italy. 

The  Churches  of  S.  Pietro  and  Saxt' 
Andrea  have  been  built  upon  the  foun- 
dations and  with  the  materials  of  tw'o 
small  Roman  temples,  each  with  two  Com- 
posite cohinijis  ill  aiitis,  a  frieze  of  tri- 
glyj)hs  and  sculptured  metopes,  and  a  Co- 
rinthian cornice.  Knuugh  remains  of  both 
stylobates  and  of  all  the  architectural  ele- 
ments for  a  comjilete  restoration.  Re- 
mains of  similar  temples  exist  in  the  lower 
town  and  in  the  neighboring  village  of 
San  Rufo.  One  of  them  was  circular,  and 
presents  the  same  mixture  of  orders. 

Roman'  'I'in:A'i'iii;.  partly  built  into  the 
church  of  S.  Micliele  .\rcangelo.  The  es- 
sential dispositions  of  the  ancient  struct- 
ure are  still  plainly  visible ;  it  was  prob- 
ably an  odeum,  and  very  similar  to  the 
odeum  of  Pompeii.  Two  columns  of  i)ink 
granite  belonging  to  the  decoration  of  the 
stage-structure   remain   in    their   ancient 


position,  and    now    support   tlie  oi'gan  of 

the  chui'ch. 

TELMI(SS08,  Lycia,  Asia  .Minor. 

Necropolis,  of  great  interest,  and  in- 
cluding tombs  of  many  different  types. 
At  the  foot  of  the  cliffs  are  ranged  sarco- 
phagi or  mausolea,  most  commonly  with 
heavy  lids  or  roofs  of  the  keel-shaped 
type,  and  in  the  face  of  the  rock  are 
several  tiers  of  facades,  many  of  them  of 
Greek  type,  particularly  some  with  two 
Ionic  columns  in  antis  beneath  entabla- 
ture and  pediment,  and  richly  friimed 
doors  in  the  pronaos,  some  of  them  with 
excellent  sculptured  friezes,  and  others 
exhibiting  the  imitation  of  Lycian  wooden 
construction,  with  its  beam-ends,  panelled 
doors  with  projecting  nail-heads,  knocker- 
rings  hanging  from  lions'  mouths,  and 
other  characteristic  features. 

TuEATRE,  at  the  S.  W.  end  of  tlie  city, 
on  the  slope  of  a  hill  at  the  issue  of  a 
narrow  valley.  The  cavea  and  seats  ai'e 
well  preserved  and  of  excellent  style.  The 
plan  is  semicircular,  the  exterior  diameter 
254  ft.,  that  of  the  orchestra  02  ft.,  the 
jierpendicular  height  4.")  ft.  Tlie  cavea 
retains  twenty-eight  tiers  of  seats  divided 
by  a  precinction,  or  horizontal  passage  SJ 
ft.  wide,  above  the  fifteenth  tier  from  the 
bottom.  The  stage  structure  was  141  ft. 
by  40  ft ;  its  foundations  survive. 
TEOS,  Ionia,  Asia  Minor. 

Tkmpj.e  of  Dionysos  (Bacchus),  a 
sjilendid  Ionic  structure  built  by  tlie 
architect  Hermogenes.  It  was  octastyle, 
pseudo-dipteral,  on  a  stylobate  of  three 
steps.  The  columns  had  twenty  -  two 
(lutes  :  their  diameter  at  the  base  was  3 
ft.  A  ill.,  at  the  neck  3  ft.  1  in.  ;  tlieir 
height  is  reckoned  at  20  ft.  2  in.  'i'lie 
sciiliitured  frieze  is  now  at  Constantino- 
ple. Tlic  temple,  which  stood  in  an  area, 
surrounded  by  porticoes,  now  lies  in  a 
confused  heap  of  ruins. 
TKRAMO  (anc.  Interamiia  i'ircnmn). 
Italy. 

The    Catuedral    is    an    old    (iuthic 


TERGESTE 


church  whose  historj-  is  not  known, 
though  there  w;is  a  bisliop  there  from 
the  VI  century.  The  Gothic  choir  is  in 
two  bays  with  aisles  and  square  east  end, 
inclined  at  an  angle  to  the  rest  of  the 
church.  It  was  built,  about  1330,  on  to 
an  older  church,  which  in  1739  was  al- 
tered into  the  modern  nave,  aisles,  and 
transept,  with  new  vaults,  and  piers  cased 
in  an  order  of  pilasters.  The  rich  chapel 
of  8.  Bernardo,  added  in  17TG,  extends  the 
north  transept  arm,  ending  in  an  ajjse. 
The  middle  door  of  the  square  plain  front 
is  a  handsome  piece  of  Gothic,  with 
twisted  jamb-shafts,  a  crocketed  canopy 
flanked  by  small  shrines,  a  mosaic  tym- 
panum, and  an  inscription  dated  1333, 
ascribing  it  to  Magider  Dendntus  de  itrbe 
{i.e.  of  Rome).  The  graceful  campanile 
stands  obliquely  against  the  south  side  of 
the  choir,  a  tall  square  tower  with  an 
octagonal  lantern  crowned  by  a  low  spire 
beset  with  gables,  but  it  is  also  modern- 
ized. 

There  are  plentiful  Roman  remains, 
among  which  an  amphitlieatre,  a  theatre, 
whose  large  vaulted  substructions  are  now 
called  Le  Grotte,  extensive  baths,  and 
aqueducts  are  the  most  conspicuous. 
TERGESTE.  See  Trie.sfe. 
TERMESSOS.  Pisidia,  Asia  Minor. 

Theatre,  in  the  middle  of  tlie  town, 
at  the  N.W.  corner  of  the  agora,  whence 
an  entrance  led  to  the  diazonia  or  hori- 
zontal passage  of  communication.  The 
plan  is  more  than  a  semicircle,  the  south 
wing,  especially,  being  extended  as  far  as 
possible.  The  exterior  diameter  is  208 
ft.  ;  there  are  eighteen  tiers  of  seats  below 
the  diazoma,  and  nine  above,  most  of  them 
in  place. 
TERXI  (anc.  Interamna  Umbria),  Italy. 

The  Rrix.s  of  the  ancient  Roman  town 
include  remains  of  the  amphitheatre,  of 
two  temples  believed  to  be  those  of  the 
Sun  and  of  Hercules,  and  of  thermae. 
The  former,  which  is  incorporated  in  the 
church  of  S.  Salvatore,  is  circular. 


TERRACINA,  Italy. 

The  Gathedual  (S.  Cesareo)  stands  on 
the  public  square,  which  is  the  ancient 
forum,  and  on  the  site  of  the  old  temjsle 
of  Rome  and  of  x\.ugustus.  It  is  believed 
to  have  been  founded  by  Theodoric,  whose 
name  ajjpears  in  an  inscription  in  it,  and 
in  its  present  form  is  a  three-aisled  basil- 
ica without  transept  and  with  three  east- 
ern apses.  Of  the  six  round  arches  car- 
ried on  antique  columns  which  line  each 
side  of  the  nave,  the  easternmost  pair  is 
made  larger  than  the  rest,  giving  within 
somewhat  the  aspect  of  a  transept.  The 
cajDitals  and  the  main  ajjse  are  modernized, 
but  the  old  pavement  is  preserved,  and 
also  the  medifeval  pulpit,  bishop's  chair, 
and  tabernacle.  These  are  enriched  with 
carved  colonnettes  and  with  mosaic. 
Across  the  front  is  an  open  jjorch  or  nar- 
thex,  built  or  renewed  in  the  middle  of 
the  XII  cent.,  with  a  range  of  ten  antique 
Ionic  columns  in  front,  two  of  which 
stand  on  the  backs  of  lions.  The  archi- 
trave is  enriched  with  an  arabesque  in 
mosaic,  and  above  on  the  front  is  a  point- 
ed arcade.  The  bell  -  tower  has  four 
stories  of  blind  arcades  crowned  by  a 
modern  roof. 

The  Mole  of  the  Antoxines,  built  of 
an  inner  mass  of  opii.^  incertuin  of  tufa 
and  mortar,  is  faced  on  its  vertical  interior 
side  with  opus  reticulatum  of  limestone, 
and  on  its  upper  surface  and  the  inclined 
face  toward  the  sea,  paved  with  Hat  blocks, 
also  of  limestone.  The  two  rectilinear 
arms  of  the  mole  unite  at  the  north  in  a 
right  angle,  where  was  a  large  monumental 
gateway.  On  the  west  side  of  the  angle 
there  was  an  arcaded  jiortico  200  ft.  long 
and  30  ft.  wide,  at  the  end  of  which  was 
a  stair  leading  to  the  terrace  above  the 
buildings.  The  portico  consisted  of  ar- 
cades opening  toward  the  quay,  and  was 
preceded  by  the  colonnade  of  Corinthian 
columns  without  bases  which  adorned  the 
entire  interior  front  of  the  constructions 
bordering  the  quay  on  the  east  and  west. 


475 


THASOS 


From  the  eiul  toward  the  S.  W.  extended  ure   was  in  marble.  5-t  ft.  wide,  and  with 

a  series  ol'  seventy-six  vaulted  chamhers,  three  arehes,  of  which  that  iu  the  middle 

opening  behind  the  colonnade  which  bor-  has  a  span  of  20  ft.     The  arch  was  sur- 

dered  the  quay.     The  height  of  the  vaults  mounted  with  a  group  of  Hercules  strug- 

is  17  ft.  and  their  masonry  is  5  ft.  thick,  gling  with  a  lion.     On  either  side  of  this 

The  columns  stand  '.)  ft.  in  front  of  the  group  there  was  a  single  statue  ;  one  of 

dividing  piers  of  the  chambers,  and  the  these  survives,  and  appears   to  represent 

quay  in  front  is  14  ft.  wide.     At  intervals  the  empress  Sabina. 

of  585  ft.  on  the  water-face  of  the  quay  TilEBES,  Ba'otia,  Greece, 

are  sot  u[)  great  eyes  for  mooring,  cut  in  Aqi'euuct,  by  which  the  ancient  city 

blocks  of  white  limestone.     The  masonry  was  supplied  with  water  from  Mt.  Kitha- 

of  the  (chambers  is   in  opus   reticulatuni  dion,  over  eight  miles  away.    Itsconstruc- 

frained  in  ashlar.     The  entablature  of  the  tion  was  ascribed  to  Cadmus.     It  was  al- 

colonna<le  was  of  wood.     The  chambers  tered  and  brought  again  into  use  by  the 

served  for  storage  ;   some  of   them   were  Franks,  and  still  serves, 

open,   some    closed    with    gratings,    and  Temple  and  Sanctuary  of  the  Ca- 

others   with   a   wall    and    door.     Beyond  isiui  (Kabeiroi),  or  apparently  more   ex- 

the  range   of  warehouses   the   long   bare  actly,  of  the  Kabeiros  Prometheus,  and  his 

mole  extended  in  a  curved  sweep,  ending  son  Aitnaios,  three  and  a  half  miles  from 

at  the  ship-2)assage  in  a   platform  which  the   Neistian  Gate.     According  to  tradi- 


bore  a  little  temple,  probably  of  Venus. 
The  N.  E.  mole  no  doubt  bore  the  usual 
light  on  the  extremity  ;  the  whole  of  its 
superstructure  was  demolished  to  make 
I'oom  for  tlie  former  pontifical  palace, 
now  a  j^rison. 

Palace  of  Theodoric,  so-called,  on 
the  summit  of  the  rock,  whence  it  com- 
mands a  superb  view.  The  ruins  are 
picturesque  and  conspicuous  in  the  land- 
scape, and  many  of  the  corridors  and 
rooms  are  still  perfect,  and  in  tlicmselves 
of  mucli  interest.  Only  the  lower  story 
renudns,  choked  with  rubbish,  but  show- 
ing conspicuously  on  two  fronts  an  open 
vaulted  arcade  in  random  masonry,  with 
arches  carried  on  massive  piers  and 
springing  from  a  simple  moulded  impost. 

The  IvOMAX  PoKT,  now  entirely  choked, 
still  displays  in  large  measure  its  ancient 
structural  dispositions.  It  was  of  very 
ancient  foundation,  and  having  becotno 
silted  up,  was  restored  by  the  Antonines. 
TIIASOS,  Cyclades,  (Jreece. 

Tkiimi'IIal  Arch,  at  Limenas,  dedi- 
cated by  tlie  city  of  Thasos  to  the  em- 
peror Marcus  Aurelius.  The  ruins  are 
standina:  to  a  heiiiht  of  10  ft.      'J'he  struct- 


tion,  this  sanctuary  was  defended  by  thun- 
der-bolts from  heaven  when  in  danger  of 
sack  by  Alexander's  soldiers.  The  site  has 
been  explored  by  the  German  Institute  at 
Athens  since  1887.  The  foundations  are 
73  ft.  8  in.  by  33  ft.,  and  show  a  cella 
which  was  23receded  by  a  pronaos  of  four 
columns.  Behind  the  cella  there  was  an 
opisthodomos  which  seems,  from  the  light 
character  of  the  foundations,  not  to  have 
been  roofed,  but  to  have  been  an  open 
walled  enclosure  used  for  sacrifices.  These 
remains  represent  an  enlargement  of  an 
earlier  and  simpler  structure.  There  are 
traces  of  a  peribolos  in  polygonal  masonry. 
Below  the  temple  to  the  N.W.,  in  the  Ca- 
biri  sanctuary,  and  approached  from  it 
by  means  of  a  flight  of  steps,  was  a  series 
of  chambers.  It  is  conjectured  that  they 
were  lodgings  for  the  functionaries  at- 
tached to  the  temple.  The  stoa  in  the 
Cabiri  sanctuary  is  marked  by  a  wall  run- 
ning south,  in  a  line  with  the  front  of  the 
temple  and  l)earing  traces  of  six  columns. 
THESSALOXICA.  See  Salonica. 
TIIORICUS,  Attica,  Greece. 

Domical     Tomb     of     the     Jlyceniean 
et)och,  discovered  1890-91.     It   is   of  un- 


47fi 


THOTJRIA 


iisual  design  in  tluit  it  luis  :i  vaultcil  dro- 
mos  or  eutmuce-passage. 

Military  Towek,  of  rectangular  plan, 
west  of  the  theatre.  The  walls,  which 
still  rise  to  the  height  of  about  10  ft.,  are 
built  in  the  same  rock-faced,  rambling- 
bed  ashlar  as  the  rear  wall  of  the  theatre, 
and  of  the  same  coarse,  bluish  marble. 

Stoa,  near  the  base  of  the  Acropolis, 
probably  of  the  iv  century  B.C.  It  was 
Doric,  heptastyle,  with  fourteen  columns  in 
each  flank,  on  a  stylobate  of-  two  steps  ;  the 
ground-plan,  107  ft.  by  50  ft.  Portions 
of  sixteen  columns  remain,  eleven  on  the 
east  and  five  on  the  X.  W.  side.  The  col- 
umns are  channelled  onlv  in  a  ring  at  the 
base  and  neck.  Within  the  enclosure 
were  found  capitals  of  columns  dilfering 
from  the  order  of  the  2)eristyle.  These 
perhaps  belonged  to  a  central  interior 
range  for  supi^orting  the  roof.  The  build- 
ing was  never  finished. 

The  Theatre,  explored  in  18SG  by  the 
American  School  at  Athens,  is  of  very  ir- 
regular form,  the  cavea  being  in  part  con- 
structed on  the  side  hill,  and  shaped  but 
little  by  art ;  and  in  part  supported  by  a 
retaining-wall  of  cjuarry-faced  ashlar  in 
broken-range  work,  which  is  referred  to 
the  latter  half  of  the  v  century  B.C.  There 
are  remains  of  thirty-one  tiers  of  seats  in 
a  soft,  coarse,  bluish  marble  —  smooth 
blocks  simply  cut  square,  about  13^  ft. 
high  and  ;^3|  ft.  wide.  There  were  three 
unequal  kerkide.s  or  cuuei,  formed  by  two 
kUmaJces  or  stairways.  At  the  eastern 
extremity  of  the  orchestra  the  three  lowest 
seats  are  interrupted  to  give  room  for  a 
pedestal.  At  the  rear  of  the  retaining- 
wall  are  two  massive  abutments  which 
afforded  access  to  the  cavea  from  without 
by  inclined  jDlanes.  That  further  to  the 
west  is  jjierced  with  a  jjassage  closed  above 
by  stones  corbelled  out  in  horizontal  beds. 
The  lowest  tier  of  the  cavea,  wider  than 
the  others,  may  have  supported  thrones 
or  seats  of  honor.  The  cavea  could  accom- 
modate   about   five   thousand   sjiectators. 


The  floor  of  the  orchestra  was  of  red 
earth,  compactly  beaten  down.  At  the 
west  side,  separated  from  the  cavea  by  a 
purodus  or  jiassage,  was  a  small  temple 
facing  east,  probably  Ionic,  in  antis.  This 
building  is  referred  to  the  Macedonian 
period.  It  is  possible  that  the  theatre  is 
considerably  older  than  the  American  ex- 
plorers have  estimated,  and  that  its  irreg- 
ularity of  shape  and  roughness  of  con- 
struction are  accounted  for  more  by  the 
undeveloped  state  of  theatrical  architect- 
ure at  the  time  of  its  foundation,  than  by 
a  somewhat  extraordinary  local  deficiency 
in  esthetic  feeling  which  has  been  lately 
attributed  to  the  peojile  of  Tlioricus.  Tlie 
theatre  was  undoubtedly  designed  for  dra- 
matic representations. 
THOURIA,  Messenia,  Greece. 

The  Doric  Temple,  of  small  size,  re- 
mains in  excellent  preservation.  It  is 
built  of  a  hard  brown  limestone  contain- 
ing shells. 

A  Roman  Buildixg,  in  tlie  plain  below 
Palaiokastro,  probably  the  palace  of  some 
high  official.  It  is  unusually  well  pre- 
served, retaining  even  jjortions  of  its  vault 
of  rubble  and  cement.  The  walls  are  17 
ft.  high,  of  flat  bricks  laid  in  thick  layers 
of  cement.  The  ruin  is  very  extensive, 
and  includes  baths. 
TIRYNS,  Argolis,  Greece. 

Acropolis  of  primitive  Cyclojiean  or 
Pelasgic  construction,  enclosing  elaborate 
ancient  buildings  (commonly  called  a  pal- 
ace) of  very  ancient  Hellenic  foundation, 
and  deiJendeucies,  discovered  by  Schlie- 
mann  and  Dorpfeld  in  1881^85.  The  flat 
top  of  the  rock  enclosed  is  about  980  ft. 
by  330  ft.,  the  nortliern  half,  given  up  to 
the  dependencies,  being  lower  than  the 
southern  half,  which  is  occupied  by  the 
palace.  The  original  heiglit  of  the  wall  is 
estimated  at  05  ft.,  its  thickness  is  2G  ft. 
On  the  south  and  S.  E.,  the  wall  is  much 
thicker,  and  in  it  are  narrow  passages 
communicating  by  doorways  cut  to  the 
form  of  pointed  arches  with  two  series  of 


TIVOLI 


small  storage-clianibcrs  or  magazines  iu 
the  thickness  of  the  wall.  These  galleries 
and  chambers  have  long  been  known. 
Similar  chambers  e.xist  in  tlie  citadel  of 
Carthage.  'I'lie  roofs  of  the  galleries  and 
chambers  arc  foi'ined  of  Ijjocks  corbelled 
out.  The  wall  is  built  of  stones  6  ft.  to  10 
ft.  long  and  li  ft.  thick,  almost  unhewn, 
placed  in  regular  layers,  connected  by 
smaller  stones  and  bonded  with  clay. 
The  pahice  is  a  close  parallel  of  the  Home- 
ric house  of  the  more  elaI)orate  kind,  with 
its  outer  gate,  its  chief  court,  surrounded 
by  colonnades,  uiion  which  ojien  the  2>ub- 
lic  rooms,  the  (diicf  of  which  is  the  mcy- 
(tron  or  assembly-hall  (oSi  ft.  by  32  ft.) 
besides  sleeping-rooms  for  guests  and  at- 
tendants, a  bath-room,  etc.  Its  inner  or 
private  apartments  are  grouped  about  the 
two  so-called  women's  courts,  and  are  ap- 
proached only  by  means  of  indirect  and 
circuitous  passages.  In  one  corner  of  the 
chief  women's  room  (25  ft.  by  18  ft.)  there 
remains  a  portion  of  the  ancient  wall-jDaint- 
ing  on  plaster,  and  other  fragments  have 
been   found  in  other  rooms,  the  designs 


domed  cella  raised  on  a  phiin  basement. 
The  dome  and  eight  columns  are  now  gone. 
The  columns  are  slender,  and  the  acan- 
thus-leaves of  the  capitals  are  sharp- 
toothed  and  excellently  compo.sed.  The 
frieze  is  sculptured  with  bucrania  and  gar- 
lands, and  the  coffered  ceiling  of  the 
pteronui,  ornamented  with  rosettes,  is  al- 
most Greek  in  character.  The  columns 
and  entablature  are  of  travertine,  the  cella 
of  opus  incertum.  The  cella  has  a  high 
doorway  with  a  window  on  each  side. 
The  temple  is  34|  ft.  high,  the  interior 
diameter  of  the  cella  34  ft.  The  base- 
diameter  of  the  columns  is  a  little  over 
2  ft.,  and  the  intercolumniation  a  little 
over  -1  ft.     The  date  is  prior  to  the  empire. 

TEirPLE  OF  TiBURTU.s,  also  called  Tcm- 
l)le  of  \"esta.  It  is  a  tetrastyle,  Ionic, 
pseudo-jiei'ipteros,  of  travertine,  with  six 
coliuinis  on  the  flanks.  The  front  portico 
is  prostyle,  and  tlie  interior  of  the  cella  is 
plain.  The  tcm])le  measures  2Gg  ft.  by 
5(1  ft. 

Villa  d'Hste,  one  of  the  most  conspicu- 
ous and    familiar   of  the  srreat   suburban 


rejjeating  those  pi'cviously  known  from  country  houses  of  Rome.  The  main  build- 
several  sites  of  till!  so-called  Mj'ceufean  ing  is  situated  at  the  summit  of  a  hill,  the 
civilization.  In  the  vestibule  of  the  men's  slope  in  front  being  laid  out  as  a  vast 
megaron  was  found  a  carved  frieze  of  white  rectangle  rising  sharply  in  a  succession  of 
alabaster,  beautifully  inlaid  with  blue  terraces  and  staircases  to  the  great  iifiper 
glass.  Some  pottery  as  old  and  rude  as  terrace,  about  GOO  ft.  long,  and  36  ft. 
that  from  11  ion  was  found,  but  most  of  the  broad,  on  which  the  palace  stands.  Prom 
pottery  is  more  advanced  in  stylo.  Some  the  i)arterre  at  the  foot  of  the  hill,  four 
fragments  as  late  as  the  Dipylon  period  lii-oad  pai-allcl  staircases  about  180  ft.  long, 
were  discovered,  llemains  of  an  archaic  bordered  on  each  side  by  a  water-course 
Doric  temple,  of  course  much  later  than  forming  a  continuous  cascade,  lead  to  the 
the  foregoing,  were  fouiul  on  the  site.  first  terrace,  which  is  planted  with  thick 
TIV'OLI  (auc.  Tibur),  Italy.  shrubbery  mingled  with  noble  pines  and 
Temi'LE  of  the  SiiiVL,  so-called,  very  cypresses,  and  adorned  with  fountains  and 


commonly  called  Tem|)le  of  Vesta,  and  as- 
cribed by  Nibby  to  Hercules  Saxanus. 
This  graceful  circular  structure  overlooks 
the  sheer  gorge  of  the  Anio,  and  at  once 
gains  in  interest  from  its  romantic  sur- 
roundinsrs  and  adds  beantv  to  them.     It 


statues,  and  from  which  imposing  stair- 
cases and  inclines  conduct  to  the  level  of 
the  upper  terrace.  The  palace  itself,  built 
from  the  designs  of  Pirro  Ligorio,  has  a 
frontage  of  about  180  ft.  and  a  depth  of 
100  ft.,  and  encloses  a  large  interior  court 


consisted  originally  of  a  portico  of  eighteen     surrounded  by  vaulted  arcades.     The  fa- 
Corinthian  columns  surrounding  a  circular     5ade  is  in  three  stages  of  rather  simple  de- 

478 


TLOS 


sign,  with  slightly  projecting  wings,  iihiin 
square  windows  on  bahistnide  courses,  ;inil 
a  central  projecting  portico  of  four  Co- 
rinthian columns.  The  villa  was  begun 
about  15-10  by  the  cardinal  bishop  of  Cor- 
dova, but  was  continued  on  a  greatly  en- 
larged jjlan  by  Cardinal  Hippolite  d"Este. 
Under  Benedict  XIV.,  in  the  middle  of 
the  XVIII.  cent.,  it  was  despoiled  of  the 
greater  jjart  of  its  statues  and  lias-reliefs, 
wliich  were  removed  to  the  \'atican.  The 
watei"-works,  which  form  the  most  remark- 
able feature  of  the  grounds,  wei'e  designed 
by  Orazio  Olivieri. 

Villa  of  Hadriax  (or  Villa  Adriana), 
now  a  stupendous  agglomeration  of  ruins, 
once  one  of  the  most  lavish  creations  of 
the  art-loving  emperor,  in  which  he  sought 
to  reproduce  objects  which  had  pleased  him 
in  his  wide  journeyings.  It  embodied  a 
lyceum,  an  academy,  a  prytaneum,  a  sanc- 
tuary of  Serapis,  a  poecile  or  painted  porch, 
Greek  and  Roman  theatres,  and  nuiny  other 
features.  Sculptures  and  mosaics  have  been 
found  on  the  site  in  great  quantities  since 
the  Eenaissance,  among  them  many  im- 
portant works.  Since  ISTl  regular  exca- 
vations have  been  conducted  by  the  Italian 
Government.  Among  the  best-j^reserved 
features  is  the  circular  structure  which 
has  been  miscalled  a  natatorium,  a  mari- 
time theatre,  a  nymphituni.  etc.  The  ex- 
ternal diameter  is  about  l-iG  ft.  ;  inside,  a 
platform  about  11  ft.  wide  skirts  the  wall, 
bordered  by  a  raised  stylobate  on  which 
stood  a  peristyle  of  columns.  Above  these 
columns  and  the  exterior  wall  there  was 
probably  a  gallery  which  was  floored  with 
mosaics.  Next  inside  of  the  peristyle 
there  is  a  canal  10  ft.  wide,  its  bottom 
sloping  to  a  depth  of  5  ft.,  supplied  with 
water  by  a  conduit  which  is  still  visible.  It 
was  crossed  by  two  swinging  bridges,  which 
turned  on  pivots  and  gave  access  to  an 
inner  circular  structure  elaborately  orna- 
mented and  subdivided.  This  structure 
formed  a  complete  Roman  dwelling,  com- 
prising vestibules,  central    atrium,  tricli- 


nium, reposing- rooms,  warm  and  cold 
baths  ;  the  whole  was  richly  paved  and 
encrusted  with  marbles  and  porphyry,  and 
decorated  with  columns,  sculptured  friezes, 
and  fountains  placed  in  niches.  This  im- 
perial palace  has  left  imp(n'tant  remains 
forming  three  stages — on  the  lowest  the 
gardens,  on  the  next  the  domestic  build- 
ings and  large  state  apartments,  and  on 
the  highest  the  imperial  residence  projier, 
dominating  the  entire  villa.  A'ear  by  are 
a  stadium  and  tlierma;.  The  Vale  of  Cano- 
pus,  or  sanctuary  of  Serapis,  in  imitation 
of  the  Egyptian  original,  is  an  artificial 
excavation  about  GOO  ft.  long,  and  230  ft. 
wide,  in  the  tufa  ;  it  formed  a  large  pool 
on  which  boats  jjlied.  On  tlie  right,  rise 
several  tiers  of  little  chamliers,  apparently 
reproducing  the  lodgings  for  the  pilgrims, 
to  whom  in  their  sleep  the  god  sent  vis- 
ions. At  the  end  is  the  large  semicircular 
niche  of  the  sanctuary,  on  whose  terrace, 
ornamented  with  fountains,  porticoes, 
niches,  and  statues,  was  found  the  image 
of  Serapis.  Near  by  are  the  ruins  of  the 
Academy,  of  a  monumental  circular  hall 
called  the  Temj^le  of  Apollo,  and  of  the 
Odeum  or  third  theatre,  with  consider- 
able remains  of  both  cavea  and  prosce- 
nium. There  are  also  imjjortant  remains 
of  the  Inferi  or  reproduction  of  the  infer- 
nal regions,  with  a  very  long  underground 
passage  lighted  by  circular  o^jenings  in  the 
vault,  and  of  the  aqueduct  which  brought 
water  from  the  Anio. 
TLOS,  Lycia,  Asia  Jlinor. 

Theatre,  of  large  size  and  magnificent 
construction.  The  seats  of  the  cavea  are 
of  polished  marble,  and  every  seat  has  a 
projecting  cornice,  wdiicli  is  often  sujs- 
ported  by  lions'  f)aws.  There  are  many 
other  important  ruins,  seemingly  Roman 
in  type  but  Greek  in  construction,  and  a 
most  interesting  necropolis,  including 
tombs  both  of  the  wood  architecture  type, 
with  panelling  and  other  features  peculiar 
to  carpentry,  and  Ionic  temjile  facades 
with  sculptures  in  the  pediments. 


479 


TODI 


TODI,  Umbria,  Italy. 

The  ancient  City  Walls  are  remark- 
able ;  they  incliicle  three  distinct  circuits. 
The  oldest  parts  are  pre-Roman,  built  of 
large  blocks  and  of  the  character  of  Etrus- 
can walls,  the  newer  parts  in  regular 
ashlar  of  travertine.  There  are  consider- 
able remains  of  a  classical  building,  called 
locally  thc'i'cnii>le  of  Mars  ;  it  isprol)ably 
a  basilica. 

St.v.  Maria  della  Coxsolazioxe,  a 
small  but  interesting  Renaissance  chnrch 
dating  from  the  beginning  of  the  xvi 
cent.,  and  attributed  to  Bramaute.  Its 
jilan  is  simple  :  a  square  of  about  3.5  ft., 
bounded  by  four  great  round  arches 
springing  from  rather  slender  piers  faced 
with  Doric  pilasters,  and  bearing  a  high 
central  dome  and  cupola  raised  on  a  drum 
with   an   order  of   tiiin  coupled  pilasters 


A 

1 

^3 

f 

.^&! 

%^ 

HHSsffS^ss^^ 

■M  WM.^ 

'^xm 

IFfl 

i;  ■ ' 

SBBBiS^^^ 

■*^p 

- 

,_^  '.^>_ 

Fig.  213. — Todi,  Sta.  Maria  della  Consolaztone. 

with  single  square  wiiulows  in  the  inter- 
vals. From  each  side  of  tlie  central  square 
opens  an  apse,  of  uhicli  tiiree  are  polygo- 


nal, anil  the  remaining  one  circular,  each 
lined  with  two  stories  of  Hat  pilasters,  and 
covered  by  asemi-dome  which  abuts  against 
the  attic  of  the  central  square.  The  drum 
is  pierced  b}'  small  square  windows,  .above 
which  runs  a  light  entablature.  The  ex- 
terior corresponds  exactly  with  the  inte- 
rior. The  four  ajjses  are  encircled  by  two 
orders  of  j)ilasters,  the  upper  order  having 
single  square  windows  in  the  intervals. 
An  attic  with  windows  runs  round  the 
bases  of  the  semi-domes.  Tiio  drum  of 
the  central  dome  is  surrounded  at  its  base 
bv  a  balustrade.  {See  Fig.  213.) 
TORCELLO,  Italy. 

The  Cathedral  (Sta.  ilaria)  is  the 
only  remaining  member  of  a  group  of 
cliurches,  built  shortly  after  the  occupa- 
tion of  the  island  by  the  tribunes  Arius 
and  Arator.  It  is  a  basilica,  following  in 
a  general  way  the  Latin  type,  but  vary- 
ing from  it  in  proportions  and  details. 
The  exterior  has  been  completely  mod- 
ernized, and  shows  onl\-  some  remains 
of  the  original  sculptural  decoration 
about  the  principal  western  doorway, 
and  in  some  fragments  iu.serted  in  other 
]iortions  of  the  wall.  Tlie  interior, 
though  restored  during  the  present  cen- 
tury with  not  very  strict  regard  for  the 
jireservation  of  details,  still  retains  sub- 
stantially its  ancient  features.  Its  i)lan 
is  that  of  a  nave  about  48  ft.  broad, 
with  two  aisles  about  25  ft.,  separated 
by  eight  columns  on  either  side,  of 
veined  marble  witli  Byzantine  capitals 
of  Corinthian  form,  carrying  stiltt'd 
round  arches  with  a  low  clerestory 
above,  pierced  with  round-arched  win- 
dows. These  windows  are  filled,  as  in 
the  tribune  of  San  !Miniato  at  Flor- 
ence, with  slabs  of  alabaster  divided 
into  small  circular  panels  so  thin  as 
to  be  translucent.  The  nave  and  aisles 
have  only  wooden  roofs.  Of  the  nine 
bays  into  which  the  nave  is  divided,  the 
four  eastern  ones,  used  as  the  choir,  are 
separated   from  the  rest  by  a   screen   of 


480 


SIENA- INTERIOR  OF  THE  CATHEDRAL 


TORCELLO 


in:irl)k'  (-(111111111.-;  xvitli  a  siiinilc  t'litalilaturi', 
the  openings,  except  that  in  the  nii(-l(lk', 
being  closed  by  an  elaborate  railiiisr  witli 


variouti  saints.  These  are  j'resumably  of 
nearly  the  same  date  with  the  church. 
The    west   wall    is    also    covered    with   a 


Fig,  214.— Torcello,  Cathedral. 


carved  panels,  evidently  of  ]iyzantine 
workmanship,  answering  to  the  cancelli 
of  the  older  Latin  basilicas.  The  mar- 
ble pulpit  stands  in  front  of  the  screen, 
supported  on  columns,  ajjproached  In'  a 
staircase.  The  nave  and  aisles  each  end 
in  an  eastern  apse,  the  central  tribune 
having  still  in  the  centre  of  its  arc  the 
high  marble  throne  of  the  bishop,  with 
its  narrow  stair  enclosed  by  stone.  Right 
and  left  of  the  throne  the  wall  is  lined 
with  a  double  row  of  marble  seats,  rising 
in  steps  above  the  floor  of  the  tribune, 
showing  the  characteristic  imposing  ar- 
rangement of  an  early  Christian  presby- 
tery. The  wall  of  the  tribune  is  lined 
for  half  its  height  with  slabs  of  veined 
marble.  Above  this  is  a  border  or  frieze 
of  mosaic  in  geometrical  patterns,  and  the 
upper  wall  and  the  hemispherical  vault 
tire  covered  with  mosaics  representing  the 
Saviour  with  the  Virgin  and  apostles  and 


mosaic  of  later  date,  probably  of  the  xiii 
cent.,  divided  into  three  subjects  :  the 
Crucifixion,  the  Descent  into  Hell,  and 
the  Last  Judgment.  Tliere  is  also  a  large 
mosaic  on  the  end  wall  of  the  south  aisle, 
and  the  church  still  retains  its  ancient 
mosaic  pavement  in  opus  Alexandrinum. 
A  small  domed  octagonal  baptistery  opens 
from  the  north  aisle,  but  its  decoration  has 
quite  disappeared.  The  church  was  pre- 
ceded by  an  atrium,  which  was  surround- 
ed by  galleries  with  columns  supporting 
wooden  architraves.  Only  the  side  next 
the  church  remains,  forming  a  portico  to 
the  front.  Of  the  square  campanile  at  the 
X.  W.  angle  of  the  church,  only  the  low- 
er portion-  still  stands.  The  church,  built 
about  G-tl,  was  restored  in  864,  and  again 
in  1008  ;  the  second  restoration  is  by  some 
authorities  believed  to  have  been  practi- 
cally a  reconstruction.  {Sec  Fig.  21Jf.) 
Sta.  Fosca.     Of  the  two  churches  at 


481 


TORREMAKK 


Torcello,  this  is  niudi  tlic  more  recent, 
yet  tliere  apiiears  to  be  no  certain  record 
of  its  origin.  It  is  first  mentioned,  ac- 
cording to  Mothes,  in  a  legal  document  of 
1011.  It  is  a  Eomanesque  church  of  quite 
unusual  2Jlan  and  design.  Its  plan  is  that 
of  an  imperfectly  develoi)ed  Greek  cross, 
with  a  large  choir  to  the  eastward.  From 
a  central  space  about  33  ft.  square,  of 
which  the  ujjper  or  clerestory  walls  are 
suj)ported  on  each  sitle  by  three  round 
arches,  the  central  arch  much  the  largest, 
open  to  the  west,  north,  and  south  three 
shallow  arms  of  the  cross,  each  in  three 
bays  corresponding  to  the  three  arches,  the 
central  bay  barrel-vaulted,  the  side  bays 
groined.  On  the  fourth  or  eastern  side 
the  three  arches  open  into  the  aisles  of  a 
deep  choir,  vaulted  as  in  the  other  arms, 
and  each  aisle  terminating  in  a  round 
apse.  The  arches  throughout  the  interior 
rest  on  columns  of  Greek  marble  with 
Corinthian  capitals,  probably  taken  from 
some  older  building.  The  square  walls  of 
the  central  portion  sujjport  by  means  of 
double  squinches  iu  the  angles  a  cylindri- 
cal drum  which  formerly  carried  a  hemi- 
sjiherieal  dome.  The  dome  has  disap- 
peared and  the  drum  is  covered  by  a 
simple  conical  wooden  roof.  On  tlie  ex- 
terior the  arms  of  the  cross  on  the  west, 
nortii,  and  south  show  above  the  lower 
roofs  in  gabled  roofs  which  abut  against 
the  drum  of  the  dome.  In  each  gable  is  a 
large  semicircular  window  concentric  with 
the  vault.  The  church  is  enclosed  in  an 
arcade  of  stilted  round  arches  supported 
on  columns  partly  round  and  partly  oc- 
tagonal, with  capitals  of  singular  and 
uncouth  design,  which  it  is  difficult  to 
assign  to  any  age  or  style.  The  angles  of 
this  arcade  are  truncated  so  as  to  make 
its  plan  octagonal,  and  its  north  side  com- 
municates with  the  atrium  of  the  adjacent 
catiu'ilral,  of  which  this  cluirch  is  thought 
to  iiave  bt'i-n  the  baptistery.  The  east  end 
does  not  appear  to  have  formed  part  of 
the  original  design,  but  is  very  similar  iu 


style  to  that  of  the  neighboring  church  of 
Murano,  wliich  is  nearly  of  the  same  date. 
The  central  apse  is  octagonal  on  the  ex- 
terior, with  coupled  columns  at  the  an- 
gles supporting  blind  arches.  The  arches 
are  repeated  in  a  second  story,  but  without 
the  columns,  and  above  the  ujjper  arches 
is  a  frieze  with  red  and  yellow  bricks 
in  alternate  upright  triangles,  surmount- 
ed by  a  decorated  cornice  of  brick  and 
stone. 

TOKHKMAR?:.     See  Mefajwufmn. 
TOSCAXELLA,  Italy. 

Cathedral  (S.  Pietro),  a  Komanescpie 
cluirch  of  various  periotls  up  to  the  end 
of  the  XI  cent.,  designed  with  great  ele- 
gance, the  exterior  expressing  accurately 
the  interior  arrangement.  The  facade  is 
especially  remarkable.  It  has  a  central 
division  closing  the  end  of  the  nave,  con- 
taining a  fine  central  doorway  with  a 
round  arch  under  a  deep  moulded  archi- 
volt.  marble  columns  in  the  jambs,  and  a 
tympanum  ornamented  with  mosaics  now 
much  decayed.  Over  the  doorway  is  a 
graceful  gallery  of  twelve  arches  on  small 
columns,  flanked  by  griffins  and  crowned 
by  a  corbelled  cornice.  The  remaining 
height  is  occupied  by  an  extremely  fine 
wheel-window  in  a  square  recess,  with 
figures  in  relief  at  the  four  angles,  and 
small  two-light  arched  windows  on  each 
side.  A  narrow  band  of  mosaic  surrounds 
the  wheel-window.  The  projecting  cen- 
tral division  terminates  in  a  low  pedi- 
ment, and  the  angles  of  the  walls  below 
are  emphasized  by  pilasters  and  engaged 
columns  resting  on  animals.  The  side 
divisions,  under  low  half-gables,  follow  the 
section  of  the  interior  aisles,  and  are  cov- 
ered with  higli  arcades  broken  only  liy 
two  rich  round-arched  doors.  All  the 
sculpture  on  this  front  is  in  wliite  mar- 
lile.  Tlie  sides  of  tlie  church  are  very 
plain.  It  is  built  on  a  hillside,  the 
ground  falling  rapidly  toward  the  east 
end,  whicii  is  therefore  very  high,  and 
buttressed   witii  rude  square  projections. 


482 


TOSCANELLA 


Tlie  central  apse  sliows  first  a  high  foun- 
dation wall  helow  the  floor  of  the  crvjit. 
Ahove  this  it  is  divided  into  three  stages, 
the  two  lower  decorated  with  pilasters  and 
arched  corbel-tables,  the  third  stage  occu- 
pied by  a  gallery  of  grouj^ed  arches  be- 
tween pilasters.  The  interior  is  simple  ;  a 
lofty  nave  and  low  aisles  separated  by  wide 
arehes  springing  from  massive  columns  of 
marble  with  semi-classic  capitals,  a  square 
choir  and  three  round  apses  with  a  high 


receive  the  Iwdies  of  three  saints  wliieh 
were  then  brought  to  Toscanella.  In  650 
the  church  was  so  far  advanced  that  the 
bishop's  chair  was  brought  hither  from 
the  neighboring  but  smaller  t-hurcli  of 
Sta.  Maria ;  but  the  building  ai)pears  to 
have  been  finished  in  portions  and  at  vari- 
ous dates,  up  to  the  middle  of  the  xi 
cent.,  at  which  period  the  present  front 
was  built.  The  dedication  was  in  1090. 
{See  Fig.  215.) 


Fig.  215. — Toscanella,  Cathedral. 


crypt  beneath,  the  central  apse  decorated 
with  frescoes  dating  from  1039  to  1090. 
The  high  altar  is  under  a  baldacchino 
with  round  arches  on  marble  columns, 
and  a  pyramidal  roof.  The  roofs  are  all 
open-timbered.  A  curious  detail,  per- 
haps unique,  is  the  jiarapet  between  the 
columns  each  side  the  nave,  indicating 
the  ijrovisions  in  the  early  Chui'ch  for 
separating  the  sexes  during  the  services. 
This  church  has  undergone  many  changes 
and  partial  transformations.  Its  founda- 
tion goes  back  to  the  vii  century.  Later, 
probably,  the  imposing  crypt  was  built  to 


Sta.  Maki.v  Maggioke,  a  Romanesque 
church  of  unusual  design,  much  like  the 
cathedral  ((/.  c),  of  basilican  form,  usu- 
ally assigned  to  the  vi  cent.,  but  belong- 
ing probably  to  the  xi  and  xii.  It 
has  a  fa9ade  of  great  elegance,  in  three 
divisions,  the  centre  projecting  slightly, 
with  a  fine  round  -  arched  doorway  en- 
riched by  five  columns  on  each  side,  dec- 
orated arch  mouldings,  and  a  tympanum 
with  bas-reliefs.  Above  the  doorway  is  a 
graceful  arcaded  gallery  of  marble,  with 
a  winged  dragon  in  relief  at  either  end, 
and  above  this  again  a  fine  rose-window. 


483 


TOSCANELLA 


The  Hat  frablo  wliirli  fnrmorly  ti'rniiiiatcil 
this  division  lia.s  di.sajipt'aruil.  Tiie  side 
divisions  are  simply  the  end  walls  of  the 
aisles,  each  Avith  a  doorway  similar  to  that 
of  the  centre  but  smaller,  and  each  finish- 
ing with  a  low  half-tjable  answering  to 
the  aisle  roof.  This  front  was  formerly 
ornamented  with  paintings,  now  mostly 
o])literated.     The  interior  has  a  nave  and 


the  chiiir  liy  a  single  great  nmnd  arch  on 
each  side,  continuing  the  line  of  the  nave 
arches.  The  main  aisles  open  into  this 
transept  by  a  single  round  arch  tlie  whole 
width  of  the  aisle.  The  aisle  walls  are 
ornamented  by  a  blind  arcade  iinsymmet- 
rical  with  the  nave  arches.  The  roofs  are 
all  of  wood,  the  nave  roof  being  framed 
with   simple  tie-beam    trusses  resting  on 


Fig,  216.— Toscanella,  Sta.  Maria  Maggiore. 


aisles  of  five  bays  separated  Ijy  nuiiiil  col- 
umns with  capitals  of  f|uasi-('(]rintliian 
character,  carrying  large  round  arches  with 
Gothic  mouldings,  and  decorated  softits. 
A  strong  cornice  supported  on  corbels  of 
various  design  runs  above  these  arches, 
and  above  this  rises  the  clerestory  wall 
pierced  with  round-arched  windows,  with 
a  broad  Hat  decoration  carried  round 
their  heads.  1'he  choir  aisles  are  in 
strictness    transept    arms,    opening   from 


corbels,  witli  the  jiurlins  and  rafters 
shown.  The  east  wall  of  the  choir  above 
the  a])se,  and  the  walls  and  henus})herical 
vault  of  the  apse  are  covered  with  frescoes. 
The  columns  of  the  nave  are  also  painted 
each  with  a  full-length  figure  of  a  saint. 
There  is  a  fine  stone  pulpit,  raised  high 
on  four  massive  round  arches  with  dec- 
orated archivolts  and  spandrels  resting  on 
strong  round  columns  with  large  foliated 
capitals.     The  walls  of  the  pulpit  are  dec- 


TRALLES 


orated  with  eixrvuil  panels  of  various  de- 
sign, the  wliole  coniposition  being  strongly 
Byzantine  in  character.  The  high  altar 
in  the  apse  is  covered  liy  a  l)aldaccluno 
with  four  round,  many-eusped  arches  car- 
ried on  four  columns  and  covered  by  a 
pyramidal  roof.  The  date  of  the  original 
church  cannot  be  stated  with  accuracy, 
but  it  was  probably  rebuilt  about  1090. 
The  central  doorway  dates  from  al)out 
1120,  and  after  various  changes  the  church 
was  finally  reconsecrated  in  1206.  The 
square  campanile  which  stands  opposite 
the  facade  still  remains  unfinished.  {See 
Fig.  216.) 

Sta.  Makia  della  Rosa  (Sta.  Maria 
Minore)  is  like  S.  M.  Maggiore,  but  on  a 
smaller  scale.  The  fayade,  which  dates 
from  the  end  of  the  xi  cent.,  has  three 
round-arched  doorways,  and  above  them  a 
rose-window  and  two  pairs  of  twin  win- 
dows. It  has  a  nave  and  aisles  se])arated 
by  three  pairs  of  great  arches,  carried  on 
low  columns,  but  no  transept,  and  at  pres- 
ent no  apse. 
TRALLES.  Caria,  Asia  Minor, 

The  Theatre,  in  its  present  form,  is  of 
advanced  Greek,  or  even  Roman,  date.  It 
is  supported  against  the  slope  of  the  Acrop- 
olis, somewhat  high  up  ;  the  stadium, 
whose  axis  is  parallel  with  the  stage  struct- 
ure, is  lower  on  the  slope  and  very  close 
to  the  theatre.  The  latter  was  partially 
excavated  in  the  autumn  of  18S8.  The 
cavea  faces  S.  W.,  and  is  in  plan  a  semi- 
circle extended  by  tangents  at  the  extrem- 
ities. The  two  wings  were  supported  by 
retaining  -  walls,  whose  revetment  is  now 
gone.  There  were  two  diazomafa.  or  hor- 
izontal passages  of  communication,  to  the 
higher  of  which  there  was  access  from  the 
exterior  on  each  side  by  a  vaulted  passage. 
The  back  of  the  cavea  was  boi'dered  liy  a 
gallery,  which  was  probably  colonnaded. 
The  lowest  of  the  three  sections  was  divid- 
ed into  eight  wedges  by  nine  kliinakcy  or 
radial  stairways.  The  few  seats  which 
have  escaped  the  lime-burner  are  of  white 


marble,  with  rounded  edges  and  deeply 
(•oncave  moulded  rise.  The  place  for  the 
feet,  instead  of  being  in  the  same  block 
with  the  seat  below,  as  is  usual  in  Greece, 
is  formed  of  a  separate  slab.  The  lowest 
tier  of  seats  was  a  row  of  thrones,  having 
backs  and  arms  at  the  ends  adjoining  the 
stairways.  In  the  middle  of  the  row  of 
thrones  was  either  a  box  of  honor  or  a 
basement  of  altar  form.  The  orchestra  is 
separated  from  the  cavea  by  a  passage  in 
the  form  of  a  step,  3  ft.  wide,  below  which 
it  is  bordered  by  a  drainage  channel  of 
square  section.  It  was  presunwbly  origi- 
nally a  circle,  and  floored  with  beaten  earth 
and  ashes,  but  as  it  now  is,  its  diameter 
(to  the  channel)  is  82  ft,,  and  its  depth 
STg  ft.,  and  it  is  paved  with  marble  slabs 
and  with  the  bedding  of  mortar  where  the 
slabs  have  been  removed.  An  under- 
ground passage  2  ft,  wide  and  having  a 
depth  of  about  7  ft,  beneath  the  pave- 
ment extends  from  the  stage  structure  to 
the  middle  of  the  orchestra,  where  it 
branche  in  T  form.  This  is  as  yet  im- 
perfectly exjilored,  but  is  doubtless  of  the 
same  nature  as  the  similar  jiassages  discov- 
ered at  Eretria  and  Sicyon,  Though  later, 
the  stage  structure  consisted  of  a  hall  with 
a  trijile  range  of  columns,  of  which  those 
of  the  central  row  were  formed  of  two 
semi-columns  engaged  in  a  rectangular 
pier.  This  singular  disposition  is  still  un- 
explained. Touching  the  bases  of  the 
front  row  of  columns  there  was  a  massive 
wall,  from  the  middle  of  whi(!h  projected 
into  the  orchestra  a  double  flight  of  steps 
traversed  by  a  doorway,  connecting  the 
orchestra  and  the  interior  of  the  hall. 
The  construction  shows  that  the  front  wall 
cannot  have  been  less  than  10  ft.  high, 
and  the  depth  of  the  platform  forming  the 
roof  of  the  hall  was  18  ft.  From  these 
conditions,  actors  on  the  platform  could 
be  but  very  imperfectly  seen  by  spectators 
in  the  lowest  tiers,  which  is  a  strong  argu- 
ment in  favor  of  Dr.  Dorpfeld's  theory 
that  there  was  no  raised  stage.     The  face 


TRANI 


of  llie  -n-all  of  the  hall  was  adorned  with  a 
frieze  of  Dionysiac  subjects,  about  3  ft. 
high,  fragments  of  whieli  have  been  found. 
It  is  probable  that  there  were  also  two  lat- 
eral doorways.  The  original  jiarodoi  of 
the  tlieatre  are  closed  in  its  jiresent  state. 
TEANI,  Italy. 

The  Cathedr.vl,  dedicated  to  Sta. 
Maria  Assunta  and  S.  Niccolo  Peregrino, 
and  standing  on  a  jioiut  of  land  nearly 
surrounded  by  the  sea,  is  one  of  the  most 
remarkable  of  the  xi  cent,  monuments  of 
southern  Italy.  It  is  a  basilica  whose  in- 
ternal length  is  about  180  ft.,  and  its 
breadth  05  ft.     The  nave,  about  120  ft. 


heavy  abaci.  The  bays  of  the  ;usles  are 
:<i|uare  and  groined.  Above  the  nave,  on  a 
light  moulded  string-course,  is  a  tine  tri- 
forium  arcade  of  triple  arches  on  colon- 
nettes  under  plain  round  bearing-arches. 
These  open  into  an  upper  aisle  or  wom- 
en's gallery.  The  clerestory  wall  is 
pierced  by  single  small  round  -  headed 
windows,  higli  up  under  the  wooden  ceil- 
ing. The  interior  is  much  injured  by 
modern  renovation.  The  nave  opens  by  a 
single  round  arch  into  a  broad  rectangu- 
lar trausejjt  projecting  very  slightly  be- 
yond the  aisle  walls,  and  of  w^hich  the 
eastern  w'all  is  broken  by  a  great  semi- 


long,  30  ft.  wide,  and  Jieai-ly  70  ft.  high,  is     circular  apse,  fiauked  by  two  small  ones. 

A  fine  crypt  or  lower  church  extends 
under  the  transept  and  the  whole  nave, 
the  two  portions  being  sei)arated  by  a 
solid  wall  with  a  single  doorway  in  the 
middle,  and  the  portion  under  the  tran- 
sept being  lower  by  several  steps.  The 
whole  space  is  divided  by  lines  of  col- 
umns into  square  groined  bays,  and 
lighted  by  large  round-arched  windows 
in  the  transept  ends.  The  great  cen- 
tral apse  of  the  upper  church  is  re- 
peated in  the  crypt.  The  exterior  is  of 
great  interest.  The  perfectly  flat  fa- 
c/ade  follows  the  interior  section,  its 
outline  bordered  by  a  continuous  cor- 
nice moulding.  The  under  church  is 
so  much  above  ground  that  it  is  entered 
by  a  door  nnder  a  double  staircase, 
which  leads  up  to  the  main  doorway. 
This  doorway  is  a  broad  round  arch, 
with  heavy  archivolts,  the  scul])ture 
showing  a  mixture  of  Norman  and  IJy- 
zantine  influence,  and  enclosing  bronze 
iloors  of  remarkable  design  by  Bari- 
sanus  of  Trani,  bearing  the  date  1173. 
h  is  flanked  by  a  blind  arcade  of  four 
I'liund  arches  on  each  side  crossing  the 
front.  High  above  this  arcade  is  a  round 
arched  central  window  flanked  by  shafts 
on  grotesque  corbels  carrying  lions,  be- 
tween two  snniller  windows,  and  in  the 
irable  a  great  round  window  of  which  the 


Fig.  217.— Tram 


separated  from  the  aisles  by  seven  round 
arches  on  each  side  springing  from  ct)uplcd 
columns,     with     composite    capitals    and 


TK'Al 


traeerv  has  disappeared.  Flush  with  this 
facade,  at  the  south,  is  a  fine  square  bell- 
tower,  some  190  ft.  high,  with  an  increas- 
ing series  of  grouped  windows  in  five 
stages,  above  a  single  high-pointed  open 
arch,  through  which  a  street  is  carried. 
It  finishes  with  an  arched  corbel-table  and 
projecting  cornice,  above  which  is  an  oc- 
tagonal lantern  and  a  low  sjnre.  The 
flank  walls  are  broken  by  well-marked 
buttresses,  joined  by  blind  arches  with  a 
small  round  -  headed  window  in  each. 
This  arcade  is  continued  with  some  varia- 
tion round  the  transept,  which  has  low 
gables  with  horizontal  cornices,  and  under 
each  a  fine  rose-window.  The  cathedral 
was  begun  near  the  end  of  the  xi  cent.,  on 
the  site  of  an  older  church  dedicated  to 
St.  John  the  Bajjtist.  It  was  consecrated 
in  1143,  but  finished  some  years  later. 
Portions  of  the  front  are  believed  to  be- 
long to  the  original  church.  {See  Fig. 
217.) 

The  Ogn"ISSAXTI  (Church  of  All  Saints), 
belongs  to  the  period  of  the  Lombard  oc- 
cupation of  southern  Italy,  ascribed  to 
the  earlier  half  of  the  ix  century.  Its 
plan  is  a  rectangle  of  about  70  ft.  by  40  ft. 
One-third  of  the  length  is  given  to  a  fine 
open  jiorch  or  narthex  of  the  full  breadth 
of  the  church,  divided  by  round  arches  on 
columns  into  sis  equal  square  groined 
bays.  From  this  porch  lead  three  arched 
doorways  with  carved  tympana.  The  east 
end  of  the  church  has  three  apses,  of 
which  the  middle  one  has  a  beautiful 
sculptured  frieze  on  corbels,  and  a  large 
central  window  with  a  round  archivolt 
springing  from  slender  columns  resting  on 
lion  corbels.  Above  the  south  apse  rises 
a  low  tower.  The  interior  consists  of  a 
flat-ceiled  nave  and  groined  aisles  with 
three  apses  and  no  transejjt.  It  is  divided 
by  four  somewhat  stilted  round  arches  on 
each  side,  resting  on  granite  columns  with 
Corinthian  capitals,  corresponding  to  half 
columns  on  the  side  walls. 

Sta.  Maria  Immaculata,  a  small  early 


XI  cent,  church  of  singularly  Byzantine 
design,  built  on  the  ruins  and  preserving 
the  disjiosition  of  an  older  church,  prob- 
ably of  the  IX  century.  Its  plan  is  a 
rectangle  about  h:l  ft.  wide  and  70  ft. 
long,  containing  the  nave  and  aisles,  with 
a  choir  ])rojecting  eastward  measuring 
about  'i'.l  ft.  square,  and  divided  into  nine 
bays  by  cross  -  arches  resting  on  four 
grouped  piers.  Xave  and  transept  rise 
above  the  rest  in  a  cruciform  roof  with 
gables  on  all  four  sides,  and  the  central 
dome  rises  higher,  round  within  and  octag- 
onal without,  but  covered  with  a  pyram- 
idal roof.  The  ends  of  the  nave  are 
covered  with  flat  domes,  and  the  aisles 
with  half  barrel-vaults.  The  choir  is  a 
single  square  groined  bay.  The  fapade 
has  a  single  door  in  the  centre,  with  a 
round-arched  window  above  flanked  by 
columns,  over  which  is  a  rose-window. 
An  arched  corbel-table  follows  the  sloj^e 
of  the  gable. 
TRAtj\  Dalmatia. 

The  Cathedral  (Duomo)  was  built  in 
a  belated  Romanesque  style  and  mostly  in 
the  first  halt  of  the  xiii  cent.,  but  not 
finished  until  the  xvi.  The  plan  is  ba- 
silican,  with  nave  and  aisles  of  five  bays 
ending  in  three  eastern  ajises.  The  front 
contains,  under  and  between  its  towers,  a 
porch  or  narthex  of  the  full  width  of  nave 
and  aisles.  Its  three  hays  have  ribbed 
vaults,  on  round  transverse  arches  and 
wall  shafts.  The  great  doorway  entering 
the  nave  bears  the  date  1240.  Its  round 
arch  encloses  a  tympanum  sculptured  with 
the  Nativity.  The  square  recesses  of  the 
archway  are  richly  sculptured  with  figure 
subjects,  and  support  a  gabled  and  crock- 
etted  canopy.  The  doorway  is  the  finest 
in  Dalmatian  architecture.  The  interior 
is  small  but  high  and  massive,  with  a 
nave  25  ft.  by  85  ft.,  and  is  5G  ft.  high  to 
the  vertex  of  its  transverse  arches,  the 
domical  vaults  rising  considerably  higher. 
Xave  and  aisle  vaults  are  four-2)art.  The 
transverse  arches  of  the  nave  are  pointed. 


487 


TREBIZOND 


and  spring  with  the  diagonals  from  cmi- 
soles  carvetl  witli  xv  cent.  Venetian  foli- 
age; elsewhere  all  the  arches  are  round. 
The  apses  have  half-domes.  Round  tiio 
main  apse  is  a  stone  seat  for  the  clergy,  and 
over  the  altar  a  Komanesque  baldacchino 
of  the  peculiar  Dalmatian  type.  There  are 
also  an  octagonal  puljiit  resembling  the 
one  at  Si^alato  and  a  double  row  of  xv 
cent.  Venetian  choir  stalls.  Of  the  two 
projected  west  towers,  one  was  never  built 
above  the  roof  of  the  narthex,  which  di- 
vides the  front  at  half  height,  and  has  above 
it  a  traceried  rose-window  under  a  gable. 
The  other  tower  is  carried  up  square,  with 
a  XV  cent,  belfry  stage  filled  with  Vene- 
tian tracery,  and  above  it  a  second  belfry 
of  the  XVI  cent,  crowned  with  a  pyrami- 
dal spire.  The  gables,  apses,  and  clerestory 
are  corniced  with  round -arched  corbel- 
tables,  the  aisles  have  a  dwarf  gallery  un- 
der the  eaves,  and  the  walls  have  pilaster 
buttresses.  A  sacristy,  baptistery,  and 
two  chapels  adjoin  the  north  aisle.  The 
church  was  begun  in  1200.  on  the  site  of 
an  older  one  destroyed  in  the  Saracen  in- 
vasion. The  walls  were  finished  by  the 
middle  of  the  xiii  cent.,  the  vaults,  it 
is  reported,  a  century  later  ;  and  an  in- 
scription dates  the  completion  of  the 
whole  in  l.'JO."). 

TKEBIZOXl)  (an<\  Trapezos),  Asia 
Minor. 
The  Orta  HissAR,  a  mosque,  called  by. 
the  Greeks  the  Church  of  the  Golden- 
headed  Virgin,  and  once  the  cathedral,  is 
a  quasi-basilican  church,  about  GO  ft,  by 
150  ft.,  with  a  central  dome,  a  long  nave 
and  aisles,  and  short  transept,  and  a  very 
deep  narthex  across  the  west  front.  The 
deep  sanctuary,  or  bema,  and  the  aisles 
end  in  three  ap.ses.  of  which  the  middle 
one  is  octagonal  outside  and  windowed. 
There  is  no  women's  gallery  except  over 
the  narthex.  In  front  of  the  narthex  is 
an  open  arcailcil  jiorrli.  and  a  similar  oiu' 
precedes  the  north  transept.  The  church 
was    built    by    Alexis    Comnenus    (1081- 


llis),  and  contains  his  tomb,  long  pos- 
thumous ;  it  is  lined  with  whitewash, 
tiirough  which  show  some  traces  of  its 
mosaic  decoration. 

Sta.  Sofia,  a  Byzantine  church  of  un- 
certain date  but  early  style.  It  has  the 
common  arrangement  of  a  central  dome 
on  pendentives  carried  by  four  columns,  a 
lengthened  nave,  and  short  transept,  all 
enclosed  in  a  rectangular  wall,  with  three 
eastern  apses,  the  middle  cnie  rectangular 
outside.  The  drum  of  the  dome  is  do- 
decagonal  without  and  pierced  with  win- 
dows, and  has  a  pyramidal  roof.  A  deep 
narthex  lies  across  the  front,  and  an  outer 
narthex  has  been  added  in  front  of  this, 
and  a  similar  porch  in  front  of  each  tran- 
sept end.  These  three  porches  are  later  in 
style  than  the  rest,  and  have  each  a  triple 
arch  with  columns,  the  central  opening 
being  pointed.  The  church  has  been 
turned  into  a  mosque  and  plastered  in- 
side ;  but  falling  plaster  has  betrayed  a 
mosaic  of  the  emperor  Alexis  III.,  which 
must  date  from  about  1200.  There  is  a 
very  handsome  pavement  of  Alexandrine 
mosaic  under  the  dome. 
TRENT  (Trento,  Trient),  Italy. 

The  Cathedral  is  a  late  Romanesque 
church  of  much  interest,  on  the  border 
between  Italy  and  Germany,  and  showing 
in  its  architecture  the  evidences  of  Lom- 
bard influence  on  the  one  hand,  and  the 
northern  Romanesque  on  the  other.  It  is 
cruciform,  about  2'ib  ft,  long  and  8.5  ft. 
broad,  or  110  ft.  across  transept,  with  a 
nave  and  aisles  of  seven  bays,  the  aisles  of 
unusual  height,  separated  by  high  and 
narrow  round  arches  on  clustered  piers 
with  vaulting-shafts.  The  vaults  are  all 
groined  in  narrow  bays,  .and  a  modern  oc- 
tagonal lantern  covers  the  crossing.  The 
choir  ends  in  an  apse,  and  small  apses 
open  from  the  east  wall  of  each  transept. 
Tiiere  is  a  gallery  at  the  west  end,  aj)- 
jiroached  by  two  picturesque  staircases  en- 
gaged in  the  aisle  walls.  Under  the  choir 
is  a  crypt,  formerly  opening  into  the  nave 


488 


TKEVI 


by  arches,  as  at  S.  Jliniato  at  Florence. 
From  the  soutli  aisle  opens  the  modern 
Cluqjel  of  the  Cross,  square,  with  octag- 
onal dome  and  drum.  The  exterior  is  of 
white  marble,  the  front  flanked  by  two 
towers,  only  one  of  which  is  finished. 
The  aisle  walls  have  blind  arcades  under 
the  eaves,  which  are  also  carried  across 
the  transej)t  and  round  the  apses.  There 
are  doorways  in  the  east  wall  of  both 
transept  arms,  the  northerly  one  covered 
by  an  interesting  projecting  porch  with 
columns  of  varied  design,  resting  on  one 
side  on  a  lion,  on  the  other  side  on  a  group 
of  human  figures,  and  supjDorting  a  stilted 
round  arch,  with  a  truncated  gable  sur- 
mounted by  a  crouching  lion.  The 
present  church,  dedicated  to  St.  Vigilius, 
the  early  bishop  of  Trent,  is  the  succes- 
sor of  various  earlier  churches  on  the  same 
site.  Its  oldest  parts,  the  abandoned  crypt, 
etc.,  date  perhaps  from  the  building  of 
Udalrich  (1023),  the  principal  structure 
from  the  XII  cent,  beginning  with  1124r. 
TREVI  (anc.  Trebia)"!  Italy. 

Temple  of  Clitumxus,  a  beautiful 
monument  of  antiquity,  though  evidently, 
from  its  construction,  not  the  original 
building  of  the  time  of  Pliny,  but  a  recon- 
struction, in  great  part  carried  out  with 
the  old  materials,  of  the  Antonine  epoch, 
with  later  Christian  restorations.  In  the 
V  cent,  the  temple  was  dedicated  as  a 
church  in  honor  of  San  Salvatore,  and 
from  this  time  date  the  sculjitures  of  the 
pediments  and  the  interior  frieze  of  the 
cella,  in  which  figures  the  Labarum  of 
Constantine  and  bunches  of  grapes.  The 
pedimented  faQade  toward  the  river  is  40 
ft.  high  ;  it  has  four  columns  and  two 
piers  of  Corinthian  type,  two  of  the  col- 
umns, however,  presenting  spiral  flutings, 
and  two  carved  with  scales.  There  is  a 
chamber  in  the  basement  with  an  arched 
door,  which  may  belong  to  Pliny's  temple. 
The  sculptures  in  the  pediment  at  the 
back  resemble  the  early  Christian  work  at 
Ravenna. 


TRIESTE  (anc.  Tergeste),  Austria. 

The  Cathedual  (S.  Giusto)  is  an  inter- 
esting conglomeration  of  old  churches, 
making  a  mass  about  125  ft.  square.  The 
exterior  is  rude  and  shapeless.  Many 
fragments  of  a  Roman  building  supposed 
to  have  been  a  temple  of  Jupiter  are  built 
into  the  front,  which  has  a  plain  square 
campanile  on  the  left  or  northern  side. 
The  doorway  is  an  old  tomb  of  the  Barbii, 
mutilated.  The  interior  consists  of  five 
aisles — more  2n-oj)erly  three  naves  and  two 
aisles  —  with  lateral  chapels,  and  three 
apses  at  the  east.  The  arcades  of  the  great 
central  nave  do  not  correspond,  being 
adapted  to  the  lateral  naves  on  each  side, 
which  were  once  independent  churches. 
The  northern  nave  was  a  plain  basilica,  flat 
roofed,  with  aisles  and  one  apse,  the  south- 
ern a  smaller  cruciform  church,  with  aisles, 
ti-ansejit  arm  and  three  apses,  and  a  domed 
intersection,  its  southern  transept  arm 
touching  the  south  aisle  of  the  basilica. 
Dr.  Kandler,  an  archaeologist  of  Trieste, 
who  had  deci2)hered  the  arrangement  and 
sequence  of  the  buildings,  ascribes  the 
northern  church,  known  as  Del  Santissi- 
mo,  to  the  iv  cent.,  and  the  southern,  S. 
Giusto,  to  the  time  of  Justinian.  Mr. 
Jackson  relegates  both  to  the  ix  or  x  cen- 
tury. Some  time  in  the  xiv,  the  adjacent 
aisles  and  the  short  intervening  transept 
were  pulled  away,  the  nave  of  S.  Giusto 
lengthened  to  match  the  other,  and  the 
space  between,  taken  for  a  new  principal 
nave,  was  extended  eastward  into  a  great 
apse,  the  naves  of  the  original  churches 
becoming  its  aisles.  Both  the  original 
ajjses  are  lined  with  mosaics,  those  in  the 
northern  apse  particularly  rich  and  well 
preserved.  The  columns  of  the  arcades 
are  sjioils  of  classic  buildings  of  irregu- 
lar height,  crowned  with  debased  classic 
capitals  and  carrying  stilt-blocks  for  the 
arches.  The  principal  nave  has  a  great 
rose-window,  which  is  the  only  ornament 
of  the  fa9ade,  and  a  wooden  tie-beam  roof  ; 
ojiening  from  the  north  aisle  is  the  bap- 


489 


riioiXA 


tistery,  not  a  part  of  the  original  basilica  : 

the  incomplete  bell-tower  bears  date  1337. 

TiULMi'iiAL  Arch,  in  the  Piazzetta  ill 

Riccardo,  named  from  a  doubtful  tradition 


Fig.  218.— Tcoja,  Cathedral 

that  Richard  Ccenr  de  Lion  was  confined 
there.  It  is  undoubtedly  Roman,  thouirh 
it  has  been  contended  that  it  was  erected 
in  honor  of  Charlemagne.  It  is  a  small 
single  arch,  with  a  Corinthian  fluted  pi- 
laster on  each  side  supporting  an  entabla- 
ture, above  which  is  a  i^lain  attic.  It  is 
engaged  on  one  side  in  the  wall  of  a  house. 
TROINA,  Sicily. 

The  CAxnEDRAi..  or  Matrico  of  Sta. 
JLaria,  is  iiicturesquely  situated  on  the 
edge  of  a  high  clitf.  Troina  was  the  first 
stronghold  hcM  by  the  Norman  conquer- 
ors of  Sicily,  and  tlie  cathedral,  built  by 
Roger  I.,  was  finished  in  1081.  It  has 
since  beeTi  pretty  much  rebuilt,  and  is 
now  a  three-aisled  cruciform  church,  with 
a  nave  of  five  bays,  slightly  projecting 
transept,  and  square-ended  choir  with  two 
flanking  chapels.      The  exterior   is  pict- 


uresque, the  transept  very  high,  and  the 
crossing  covered  by  a  square  tower.  The 
front  has  a  gable  over  an  order  of  pilas- 
ters, and  a  massive  square  tower  with 
gabled  roof  on  the  riglit 
Hank.  The  style  is 
mostly  modern,  but  the 
walls  of  the  east  end  are 
original,  and  so  is  the 
Unvor  story  of  the  tower 
with  its  open  arches. 
TROJA,  Italy. 

The  C  A  T  n  E  D  R  a  l, 
dedicated  to  Sta.  ilaria 
Assunta,  is  in  plan  a 
well  developed  Latin 
cross,  measuring  in 
length  about  ISO  ft., 
and  125  ft.  across  the 
transept.  The  nave  and 
aisles  are  separated  by 
seven  round  arches  on 
each  side,  supported  on 
high  columns  of  granite 
with  Corinthian  capi- 
tals. The  aisles  are 
groined  in  square  bays, 
but  without  transverse 
arches.  There  is  no  triforium  :  the  clere- 
story is  pierced  by  single  small  round- 
headed  windows.  The  nave  and  transept 
are  flat-ceiled.  The  crossing  is  au  oblong 
about  26  ft.  by  40  ft.,  bounded  by  a  sin- 
gle high  round  arch  on  each  side  springing 
from  compound  piers.  Each  transept  end 
has  one  narrow  bay  answering  to  the  aisle, 
and  a  square  bay  beyond.  The  choir  is 
a  single  square  groined  bay  with  narrow 
aisles  on  each  side,  and  ends  in  a  semicir- 
cular apse.  The  exterior  is  most  interest- 
ing. The  fa9ade  is  in  two  distinct  stages. 
The  lower  is  raised  on  a  high  basement, 
and  consists  of  a  bliiul  arcade  of  seven  high 
round  arches  springing  from  flat  pilasters 
with  Corinthian  capitals.  The  arches 
have  their  spandrels  and  tympana  deco- 
rated with  a  simple  mosaic,  and  enclose 
alternately  a  lozenge  and  a  circle.     The 


490 


TROY 


wliole  arcade  shows  plainly  tlii'  Pisan  in- 
flueuce.  The  centre  arch,  twice  as  wide  as 
the  others,  encloses  a  square  doorway  with 
flat  pilasters  aud  horizontal  lintel  en- 
riched with  reliefs,  and  a  round  bearing- 
arch  over  it  with  plain  tympanum.  The 
opening  is  closed  by  a  pair  of  remarkable 
bronze  doors  with  decoration  in  niello, 
dating  from  11  111.  The  lower  story  is 
ca])pcd  by  a  heavy  cornice  of  classic  detail, 
much  decorated.  The  second  is  divided 
into  three  compartments  answering  to 
nave  and  aisles,  b}'  coupled  columns  resting 
on  lions,  carrying  one  broad  arch  the  full 
breadth  of  the  nave,  covered  by  alow  gable 
aud  filled  with  a  great  wheel-window 
about  20  ft.  across,  the  upper  half  en- 
closed by  a  broad  sculptured  archivolt. 
High  half  gables  simulate  the  aisles.  On 
the  flanks  of  the  church  the  blind  arcade 
and  cornice  of  the  front  are  continued, 
the  arch  heads  and  spantlrels  tilled  with 
reliefs  and  varying  pat- 
terns in  mosaic.  One 
arch  encloses  a  doorway 
like  that  of  the  front  but 
smaller  ;  others  contain 
single-arched  aisle  win- 
dows. The  clerestory  has 
a  blind  arcade  of  round 
arches  on  engaged  col- 
umns, with  voussoirs  of 
black  and  white  stone, 
simple  round-headed 
windows  in  alternate 
arches.  The  transept 
ends  are  modernized . 
The  east  end  is  a  flat 
wall  with  three  project- 
ing apses.  The  cathe- 
dral, founded  early  in  ^ 
the  XI  cent.,  was  par- 
tially burned  in  1097  and  nmcli  enlarged 
in  its  rebuilding.  {See  Fij.  iilS.) 
TROY.  See  Ilion. 
TRYSA.  See  Gidlbascki. 
TURIX  (Torino).  Italy. 

The   Palazzo  Mauama   delle  Tokki 


contains  the  most  notable  of  the  few  re- 
mains of  Roman  building  in  Turin,  em- 
bodying, though  in  a  much  altered  form, 
the  ancient  Porta  Palatina.  In  its  present 
condition  the  building  j)resents  a  fa9ade 
about  ll-t  ft.  in  length,  with  two  polygonal 
flanking  towers  of  medieval  construction 
nearly  80  ft.  high,  pierced  by  four  stories 
of  simple  round-arched  windows,  and  ter- 
minating in  bold  arched  corbel-tables  aud 
forked  battlements.  The  towers  are  joined, 
by  a  lower  wall  in  three  stories,  the  first  of 
plain  masonry  pierced  by  the  entrance- 
arch,  the  second  and  third  having  each  an 
order  of  pilasters  with  simple  moulded 
capitals.  In  the  second  story  the  inter- 
vals are  occupied  by  large  round-arclied 
windows,  in  the  third  by  square  windows 
with  small  jjilasters,  carrying  an  entabla- 
ture. The  palace  is  said  to  have  been  suc- 
cessively the  residence  of  Charlemagne. 
C'harles  the  Bald,  and  Charles  the  Fat,  and 


it  is  conjectured  to  bo  the  work  of  the 
Lomliard  king  Desidcrius,  though  some 
authorities  remand  it  even  to  Roman 
times.  The  upper  parts  at  least  of  the 
sixteen-sided  towers,  with  machicolatcd 
cornices  and  forked  battlements,  are  mcdi- 


491 


Fig.  220.— Turin,  La  Superga. 


fpval.  Ill  1718  the  royal  widow  (]\radama 
Iveale),  luotlier  of  Victor  Amadeus  II.,  re- 
built, or  added,  the  western  half  of  the 
palace,  of  which  the  conspicuous  part  is 
the  fa9ade  of  J u vara — a  rustic  basement, 
with  a  great  order  of  Corinthian  pilasters 
above  it  covering  the  principal  story  and 
a  mezzanine,  supporting  a  high  attic'  A 
double  outside  stairway  in  baroco  style 
leads  up  to  the  principal  entrance.  {See 
Fig.  219.) 

La  SuPERG.v,  the  royal  bui'ial-church 
and  convent,  lies  about  three  miles  east 
from  'I'liriii.  It  is  the  chief  work  of  Ju- 
vara,  built  in  1717-17:50  for  Vittore  Ama- 
deo  IT.,  as  a  votive  church.  The  build- 
ings of  the  convent  form  a  quadrangle 
lined  with  a  cloister,  at  one  end  of  which 
stands  the  imposing  church,  a  round  aisle 
enclosing  an  octagonal  nave,  which  is 
crowned    bv  a   high   dome  on   a   circular 


drum.  It  is  faced  on  the  outside  by  a 
great  order  of  comjjosite  pilasters,  cover- 
ing two  stories  of  windows  and  niches  ; 
and  on  each  side  a  broad  wing,  hiding  the 
many-storied  palatial  architecture  of  the 
convent.,  supports  a  tall  rococo  tower, 
with  an  open  belfry  and  bulbous  spire. 
A  broad  walled  terrace  encircles  the 
church,  and  the  great  order  is  extended  in 
front  into  a  deep  tetrastyle  portico.  An 
upper  order  of  pilasters  surrounds  the 
drum  of  the  dome,  broken  forward  in 
coupled  columns  between  the  round- 
arched  windows  ;  and  the  ribbed  dome  is 
crowned  by  a  rococo  lantern.  Within,  a 
ring  of  square  chapels  surrounds  the  nave, 
and  an  order  of  eight  great  columns  sup- 
ports the  druui.  {See  Fi(js.  220,  221.) 
T  I' KM  AN  IN  near  Aleppo,  Syria. 

The  Ciii'KCH  is  in  some  respects  very 
like  that  at  Kalb  Luzek  {q.  v.),  though 


492 


TUSCULUM 


simpler  in  detail.  It  is  a  basilica  of  CO  ft. 
by  120  ft.,  its  nave  and  aisles  separated  by 
two  arcades  of  seven  arches  borne  by  col- 
umns. At  the  west  entrance  is  an  open 
porch  between  two  three-story  towers,  en- 
tered through  a  wide  ai'ch.  Over  this  a 
colonnaded  loggia  fronted  the  end  of  the 
nave,  which  is  jnereed  by  a  great  triple- 
shafted  window.  At  the  east  end  a  broad 
polygonal  ajjse  is  recessed  between  two 
half  gables  that  cover  the  ends  of  the 
aisles,  containing  the  two  chambers  that  in 
these  churches  usually  flank  the  apse.  On 
the  sides  the  aisle  windows  are  in  groups  of 
twos  and  threes,  separated  by  tw^o  doors  in 
each  aisle.  The  gabled  roof  is  gone,  but 
the  trusses  apparently  bore  on  corbelled 
shafts,  as  at  Kalat  Siman  and  Kalb  Lu- 
zeli.     The  stone-cutting  of  the  church  is 


Fig.  221.— Turin,  La  Superga. 


admirable,  the  detail  refined  and  abun- 
dantly decorated  with  carving.  It  seems 
to  date  from  the  vi  cent.,  and  suggests 
the  prototypes  of  numy  of  the  forms  of 
Romanesque  churches.  Close  to  the 
church  is  a  ruined  building  consisting  of 
a  great  hall  in  each  of  two  stories,  40  ft. 
by  76  ft.,  surrounded  by  two  stories  of  por- 
ticoes built  of  great  monolithic  pilasters. 
About  it  are  remains  of  smaller  buildings, 
one  a  double  tomb,  and  it  is  thought  by 
De  \  ogiie  to  have  been  a  hostelry  attached 
to  the  church. 

TUSCULUM.     See  Frascati. 
TYXDAEIS,  Sicily. 

Gymxasum(:-'),  a  large  structure  with 
two  fine  stone  arches,  lying  southeast  of 
the  theatre,  believed  to  be  identical  with 
that  mentioned  by  Cicero.  It  is  rectangu- 
lar in  plan  and  the  masonry  is  very  fine. 

TUE.\TRE,  of  Greek  foundation,  but 
altered,  especially  about  the  stage-struct- 
ure, under  the  Romans.  The  cavea  is 
excavated  in  the  slope  of  a  hill  looking 
towai'd  the  sea.  The  plan  is  a  semicircle  ; 
the  exterior  diameter  is  233  ft.,  that  of 
the  orchestra,  83  ft.  The  masonry  is  en- 
tirely in  excellent  ashlar  of  sandstone,  ex- 
cept the  remains  of  the  Roman  prosce- 
nium, which  is  built  of  brick.  The  cavea 
is  divided  by  radial  stairs  into  nine  cunei, 
or  wedge-shaped  sections. 
TYRE  (Sur),  Pliopnicia,  Syria. 

Ramparts  of  the  city,  which  according 
to  Arrian  were  about  1-47  ft.  high.  There 
are  but  very  scanty  remains  in  masonry  of 
rectangular  blocks  of  astonishing  size. 

The  Tomb  of  Hiram,  so  called,  S.  E. 
of  the  city,  consists  of  a  base  of  huge 
blocks,  each  about  13  ft.  by  9  ft.  by  3  ft., 
supporting  a  great  slab  which  overhangs 
on  all  sides  and  supports  a  massive  sar- 
cophagus with  a  cover  of  pyramidal  form. 
The  total  height  is  about  30  ft.  Beneath 
the  monument  there  is  a  rock-chamber,  to 
which  a  flight  of  steps  gives  access.  The 
date  of  the  tomb  is  uncertain,  but  is  prob- 
ably prior  to  the  Roman  domination. 


UDINE 


UDINE,  Italy. 

The  Cathedral  is  a  Gothic  Ijuilding 
of  the  XIV  cent.,  whicli  has  been  almost 
entirely  rebuilt,  with  little  regard  for  the 
original  style.  The  facade  and  the  great 
tower  on  the  north  side  still  remain  as 
first  bnilt.  Tlie  former  is  in  five  divisions 
answering  to  the  nave  and  two  aisles  on 
either  side.  The  centre  division  has  a 
doorway  with  a  crocketed  and  pinnacled 
gable  and  much  sculpture.  A  line  of 
brick  arches  crosses  the  front  above  this 
doorway,  interrupted  by  two  round  win- 
dows, and  above  this  again  is  a  central 
round  window  lighting  the  nave.  The 
roof  gable  is  broken  at  each  division,  the 
pitch  being  everywhere  the  same.  The 
great  octagonal  tower  at  the  junction  of 
the  north  transept  with  the  choir  has  a 
diameter  of  50  ft.,  with  a  lower  story  of 
stone,  the  remainder  being  of  brick  and 
unfinished.  The  cathedral  is  said  to  have 
been  built  by  Pietro  Paolo  delle  Masegne, 
who  was  called  from  ^'euice  for  the  pur- 
j)ose  in  1300. 

Palazzo  Pihblico  (Town-hall),  a 
very  perfectly  jireserved  example  of  the 
brolefto  or  town-hall  of  northern  Italy, 
and  remarkable  for  the  closeness  with 
which  its  designer  followed  the  Venetian 
manner.  It  is  a  small  rectangular  build- 
ing of  two  stories,  covering  an  open  plat- 
form, raised  by  several  ste2:)s  above  the 
street  and  surrounded  by  a  balustrade, 
which  served  as  the  public  exchange.  The 
first  story  consists  of  an  open  arcade  with 
ten  pointed  arches  on  the  front,  and  five 
on  the  side,  carried  on  round  columns 
with  richly  sculptured  capitals,  the  vous- 
soirs  alternately  of  red  and  white  or  gray 
marble.  The  columns  are  set  on  a  stylobate 
and  connected  by  a  beautiful  balustrade  of 
colonnettes  with  small  cusped arches.  This 
story  is  divided  by  a  row  of  columns  and 
arches  supporting  the  second  floor  without 
vaulting.  The  second  story  presents  a  flat 
wall  of  alternate  courses  of  red  and  white 
marble,  with  three  groups  of  windows  in 


the  front,  the  central  group  of  five  open- 
ings, the  side  groujjs  of  three,  the  open- 
ings pointed  and  delicately  cusped,  and 
the  wliolc  grouj)  enclosed  in  a  square 
panel  in  the  style  of  the  Venetian  palaces. 
The  central  groujj  opens  on  a  balcony 
from  which  the  magistrates  addressed  the 
people.  The  cornice  is  modern.  The 
building  dates  from  the  xv  centurv. 
URBINO,  Italy. 

The  C'atiieuual.  adjacent  to  the  Ducal 
Palace,  was  built  at  nearly  the  same  time 
in  the  xv  cent.,  under  Baccio  Pintelli.  It 
is  a  Renaissance  church,  cruciform,  with 
a  broad  nave  and  narrow  aisles  separated 
by  four  piers  on  each  side,  a  projecting 
transept  of  the  same  breadth  as  the  nave, 
and  a  large  rectangular  choir  with  a  long 
chajiel  on  either  side.  Shallow  apsidal 
recesses  serve  for  chapels  along  the  aisles, 
and  similar  recesses  terminate  the  transept 
arms  and  the  choir.  The  crossing  is  cov- 
ered by  a  round  dome. 

The  DrcAL  Palace,  built  by  Duke 
Frederic  II.  during  the  latter  half  of  the 
XV  cent.,  chiefly  from  the  designs  of  a 
Dalmatian  architect,  Luciano  di  Laurana, 
but  finished  under  Baccio  Pintelli.  is  one 
of  the  most  notable  examples  of  the  cin- 
que-cento style,  applied  to  domestic  archi- 
tecture. It  is  built  on  a  hillside,  and  its 
lower  portions  are  built  up  from  a  series 
of  battering  arcades.  The  buildings  cover 
a  rectangular  area  of  about  175  ft.  by  300 
ft.,  with  a  Aving  of  irregular  shape  thrown 
out  obliquely  from  its  northern  end.  The 
great  courtyard,  nearly  80  ft.  square,  is  en- 
closed on  the  lower  floor  by  an  open  vault- 
ed arcade  of  round  arches  on  com])osite 
columns,  over  whicli  is  an  order  of  Corin- 
thian pilasters,  with  square  windows  with 
simple  dressings  in  the  intervals.  The 
principal  rooms,  all  vaulted,  are  for  the 
most  ])art  richly  decorated  with  paintings 
and  bas-reliefs  ;  especially  the  great  hall, 
43  ft.  wide  and  110  ft.  long.  There  is  an 
arcaded  vestibule  and  an  entrance-hall 
with    two    richly    sculptured    firejjlaces. 


A%\ 


VALETTA 


The  doors  ami  windows,  pilasters,  and 
cornices,  and  other  features,  are  elabo- 
rately enriclied  with  arabesque  carvings, 
mostly  by  Francesco  di  Giorgio  of  Siena, 
and  Anibrogio  Baroccio.  The  exterior  is 
somewhat  uninteresting,  the  only  striking 


Fig.  222.— Urbino,  Pal.  Ducale. 

portion  being  in  the  centre  of  the  long 
fapade,  where  a  section  of  wall  is  enclosed 
between  two  older  flanking  round  towers 
with  corbelled  jjarapets  and  conical  roofs, 
the  centre  of  the  wall  being  occupied  by 
three  open  loggias,  one  above  another, 
with  pilasters  and  entablatures  and  balus- 
trades. Most  of  the  windows  are  square 
openings  with  pilasters  supporting  a  heavy 
entablature.  The  cornices  are  light  and 
surmounted  bv  balustrades.  {See  Fig. 
--.) 
VALETTA,  Malta. 

The  Church  of  St.  Johx,  built  by 
the  great  order  of  the  Knights  of  Malta, 
was  begun  in  1.573  from  the  designs  of  a 
certain  Girolamo.  Its  plan  is  a  rectangle 
about  187  ft.  long  by  118  ft.  wide,  with  a 
nave  about  50  ft.  wide  bordered  on  each 
side  by  an  arcade  of  five  broad  and  high 


arches  springing  from  great  square  piers, 
faced  with  an  irregular  order  of  pilasters 
from  whose  cornice  springs  the  slightly 
pointed  barrel-vault  of  the  nave,  each  bay 
of  which  is  pierced  by  a  single  round  win- 
dow. The  aisles  are  divided  into  square 
chapels  connected  by  narrow  doors.  The 
choir,  occupying  the  two  easternmost  bays 
of  the  nave,  is  raised  by  four  steps,  and 
furnished  with  richly  carved  stalls,  and 
the  eastern  wall  is  flat.  The  interior  is 
very  richly  decorated  with  paintings  and 
bas  reliefs,  and  costly  marbles  line  the 
walls.  The  pavement  is  made  \\\)  of  nearly 
four  hundred  sepulchral  slabs  of  various 
marbles  covering  the  graves  of  the 
knights.  On  the  two  flanks  are  a  sacris- 
ty, an  oratory,  and  various  subsidiary 
ajjartments,  and  on  the  south  a  rectangu- 
lar Campo  Santo  or  cemetery.  The  fajade 
has  a  central  doorway  between  four  niches, 
and  is  flanked  by  two  angle  towers.  The 
church  was  built  under  successive  grand 
masters  of  the  order,  and  paid  for  by  the 
fees  of  the  knights.  Since  the  practical 
extinction  of  the  order  it  has  been  a 
cathedral  church,  the  property  of  the 
government. 
VALVISCIOLO,  Italy. 

A  Monastery  of  the  Cistercian  order 
founded  by  a  colony  of  monks  from  the 
great  monastery  of  Fossanova  {q.  v.),  in 
1151.  The  monastic  buildings  remain  al- 
most intact  from  this  period,  and  are  of 
extreme  interest  because  their  style  is 
midway  between  the  plain  Romanesque 
tunnel-vaulted  style  of  the  first  half  of  the 
XII  cent.,  as  exemplified  at  SS.  Vincenzo 
ed  Anastasio  in  Rome,  and  the  early  Goth- 
ic style  which  appears  in  the  Cistercian 
monasteries  erected  in  this  province  after 
1175.  The  church  is  a  simple  basilica 
consisting  of  a  nave  and  two  aisles  com- 
posed of  five  bays,  each  ending  in  a  square 
apsidal  chajiel.  The  measurements  are  : 
length,  150ft.;  width.  58  ft;  width  of 
nave,  25  ft. :  do.  of  aisles,  13  ft.  There 
being  no  transept,  the  usual  two  chapels  on 


495 


VAPHIO 


each  side  of  the  apse  are  reduced  to  one  ; 
a  deviation  from  the  usual  Cistercian  habit 
in  the  direction  of  a  type  used  for  mon- 
asteries of  lesser  size.  The  arches  of  the 
nave  are  ]iointed.  l)road  and  low,  and  en- 
tirely witiiout  moulding.  The  vaulting 
compartments  are  slightly  oblong,  in  the 
nave  across  the  axis,  and  in  the  aisles  along 
the  axis,  of  the  church.  The  four  heavy 
piers  of  the  nave  are  square  and  low,  and 
are  divided  from  the  massive  arches  merely 
by  a  cyma  recta  moulding.  On  this  rests  a 
corbel  from  which  springs  a  plain  pilaster 
on  whose  capital  rests  the  transverse  arch 
between  the  bays.  Each  bay  is  covered 
with  a  groined  vault  and  lighted  by  a 
round-headed  window.  The  church  is  en- 
tirely liuilt  of  local  stone.  In  style  it  is 
unlike  anything  in  Italy  ;  a  few  churches, 
built  also  by  Cistercians,  may  be  compared 
to  it  :  such  is  Sta.  ]\Iaria  de  Flumine  near 
Ceccano  (q.  v.).  The  cloister  is  slightly 
posterior  to  the  church,  the  foliated  Gothic 
capitals  of  its  colonuettes  show  that  it  can- 
not have  been  built  much  before  1300  at 
the  earliest  ;  probably  later.  It  measures 
(J5  ft.  each  way,  and  each  of  the  four  sides 
is  divided  into  five  bays  with  groin  vaults 
and  transverse  arches.  The  heavy  piers 
which  divide  these  bays  and  support  their 
vaults  enclose  a  series  of  round  arches 
supported  on  coupled  colonnettes  with 
simple  slender  shafts,  and  elegant  bell- 
shaped  foliated  capitals  of  early  Gothic 
design.  Opening  out  of  the  east  side  of 
the  cloister,  as  usual,  is  the  chapter-house, 
32  ft.  square,  covered  by  six  groined 
vaults  supported  on  slender  shafts.  In 
style  it  is  contemjiorary  with  the  cliurch 
and  earlier  than  the  cloister.  The  re- 
fectory occupies  ail  the  south  side  of 
the  quadrangle  except  a  vaulted  passage 
leading  out  to  the  garden.  It  is  of  con- 
siderable size  (.T.5  ft.  by  30  ft.)  and  lieight. 
its  ribbed  groin-vaults  are  remarkably 
bold  and  broad,  and  give  an  idea  of  simple 
architectural  grandeur  that  makes  this 
the  finest  refectory  of  the  Cistercian  mon- 


asteries in  Italy.  A  comparison  with  the 
refectories  and  chapter-houses  of  Casamari 
and  Fossauova  makes  it  probable  that  the 
chapter-house  at  Valvisciolo  was  built  be- 
tween IITO  and  1180,  and  the  refectory  in 
the  decade  before  1300.  [A.  L.  ¥..  Jn] 
\' AI'IIIO,  near  Amyklai,  Lacouia,  Greece. 

Beehive  or  tholos  Tomb  of  the  char- 
acter of  those  at  Mycenae,  excavated  in 
1889  on  the  right  bank  of  the  Eurotas. 
The  dromos  or  passage  of  ajjproach  is 
nearly  100  ft.  long,  the  diameter  of  the 
tomb  about  39  ft.  The  ornaments,  uten- 
sils, and  weajjons  of  gold,  silver,  and 
bronze  found  in  this  tomb  are  of  great 
richness,  and  form  an  imijortant  addition 
to  the  knowledge  of  Mycenaean  civilization 
acquired  at  other  sites. 
VEGLIA,  Dalmatia. 

The  Cathedral  is  a  basilica  with  side 
aisles,  and  a  nave  of  00  ft.  by  23  ft.  in 
nine  bays.  Stilted  round-arched  arcades 
are  carried  on  antique  shafts  of  irregular 
heights  which  are  pieced  out  by  capitals 
of  Byzantine  form,  ajjparently  of  the  xii 
century.  An  inscription  declares  that  the 
church  was  Iniilt  by  a  Bishop  John,  and 
there  was  such  a  bishop  from  1186  to  1188. 
The  old  east  end,  probably  apsidal,  was 
burned  in  the  last  century,  and  a  new 
choir  consecrated  in  1T43.  This  has  two 
handsome  ambones,  probably  earlier  (xvi 
century).  In  the  north  aisle  is  a  Gothic 
chapel,  said  to  be  built  by  aCount  Frangi- 
panni,  who  died  near  1405.  Over  a  side 
altar  is  very  rich  reredos  of  silver,  parcel- 
gilt.  It  contains  twenty-six  niches  in  two 
tiers,  filled  with  figures  of  saints,  ami 
bordered  with  rich  ornament,  and  dates 
apparently  from  the  xv  century.  There 
are  fine  silversmiths'  work  and  embroid- 
ery in  the  treasury. 

S.  QiiHixo,  attached  at  right  angles 
to  the  west  end  of  the  cathedral,  is  .said  to 
have  been  the  original  cathedral.  It  is  a 
double  church,  in  two  stories,  with  nave 
and  aisles  to  each,  and  three  apses  at  the 
southern  end.     The  lower  church  is  very 


VENICE 


plain,  and  now  used  as  a  wine  vault  ;  the 
upper  one  carries  its  round-arched  arcades 
on  columns  with  cushion-capitals.  It  has 
been  much  changed  by  modern  restora- 
tions. Its  campanile  is  modern  in  its 
upper  story  and  bulbous  dome. 
VENICE  (Venezia,  Venedig),  Italy. 

Acc.\.DEMiA  di  Belle  Arti  (Academy 
of  Fine  Arts).  The  ancient  convent  of 
La  Carita,  of  wliich  a  portion  was  built  by 
Palladio  in  1552,  consisted  of  two  courts, 
a  larger  and  a  smaller,  with  their  sur- 
rounding buildings,  including  a  church. 
These  were  mostly  destroyed  by  tire  in 
1630.  The  portions  which  remained,  with 
the  buildings  erected  on  the  ruins,  are 
now  occupied  by  the  galleries  of  pictures 
and  other  works  of  art.  The  smaller  of 
the  two  courts,  now  destroyed,  was  flanked 
by  four  great  Corinthian  columns  ou  each 
side,  nearly  40  ft.  high,  behind  which 
were  buildings  one  of  which  was  occupied 
as  the  sacristy  of  the  church.  Prom  this 
fore-court  the  great  cloister  was  entered. 
Some  portion  of  the  original  work  still 
stands,  and  is  surrounded  by  the  building 
of  the  Academy.  It  is  three  stories  in 
height,  each  with  an  order  of  columns, 
Doric  in  the  first  story,  Ionic  and 
Corinthian  above,  the  two  lower 
enclosing  the  round  arches  of  open 
vaulted  galleries,  the  upper  col- 
umns engaged,  and  backed  by  a 
wall  with  square  windows  in  the 
intervals.  The  exterior  is  quite 
plain,  with  square  windows  with- 
out decoration,  and  with  broad 
belts  separating  the  stories. 

Annunziata.    See  S/a.  Jfarin 
Zoheniyo. 

The  Bridge  of  Sighs  connects 
the  upper  stories  of  the  Ducal 
Palace  and  the  building  on  the 
opposite  side  of  the  small  canal 
called  the  Rio  del  Palazzo,  which 
contains  the  prisons  of  state,  but  it  has  no 
architectural  relation  to  either  Imilding. 
The  bridge  consists  of  an  elliptical  arch 


sonu'lio  ft.  above  the  water,  with  a  moulded 
archivolt  decorated  with  heads,  the  span- 
drels with  reclining  figures  in  relief,  above 
which  is  a  horizontal  cornice  supporting 
an  order  of  rustic  pilasters  with  five  in- 
tervals, occupied  by  square-headed  win- 
dows and  panels.  The  whole  is  crowned 
by  a  lieavy  segmental  pediment  with  a  fig- 
ure of  Justice  seated  between  lions.  The 
bridge  was  built  in  1597  by  Antonio  Cou- 
tini,  and  has  been  made  famous  in  litera- 
ture. 

Ca'  d'Oro,  built  probably  in  the  lat- 
ter half  of  the  xiv  cent.,  one  of  the  best 
known  of  the  palaces  of  the  Grand  Canal 
and  jjrobably  the  richest  e.xample  of  the 
domestic  Gothic  of  Venice.  The  fapade 
appears  to  have  been  designed  in  accord- 
ance with  the  almost  invariable  conven- 
tion of  the  Venetian  palaces,  a  centre 
and  two  wings ;  but  in  that  case  only 
one  of  the  wings  was  built.  The  whole 
front  of  three  stones  is  about  70  ft.  long, 
of  which  what  we  may  call  the  centre,  oc- 
cupying about  40  ft.,  is  recessed  behind 
open  loggias.  That  of  the  first  story  has 
five  arches,  the  middle  one  round,  the 
others    jjointed,    all    surrounded    by    the 


Fig,  223.  — Venice,  Ca'  d'Oro. 

usual  Venetian  billet -moulding.  The 
spandrels  are  decorated  with  disks  of  col- 
ored   marble.     In    the   second   and   third 


4'JT 


VE^'ICE 


stories  the  arcades  are  of  six  iiointod  und 
cusiied  arclics  ])caring  tlie  jjeculiar  \'ene- 
tiau  tracery  imitated  from  tlic  Ducal  Pal- 
ace, of  cusped  qiiatrefoils,  round  in  the  sec- 
ond storv  and  pointed  in  the  third.  These 
arcades  rest  on  marble  columns  with  bal- 
ustrades between  and  beautifully  designed 
capitals,  and  are  flanked  by  larger  single 
arches  with  ogee  heads,  traceried  in  the 
second  story,  simply  cusped  in  the  third. 
These  four  arches  have  single  projecting 


lona  cross.  The  whole  front  is  faced  with 
thin  plates  of  marljle,  and  its  ornamenta- 
tion belongs  to  various  periods,  the  palace 
itself  liaving  been  built  about  1400.  It 
was  extensively  restored  about  1850  by  the 
famous  dancer  Taglioni,  who  lived  in  it. 
{See  Fig.  ii^S.) 

The  Qampaxile  of  St.  Mark's  stands 
detached  in  the  Piazza  San  Marco,  in  front 
of  the  clnirrh.  It  is  a  tower  about  42  ft. 
square,    built   of   simple  brickwork   to   a 


Fig.  224. — Venice,  Library,  and  Loggia  of  Campanile. 


balconies  of  the  usual  \'enetian  Gothic 
form.  The  wing  has  in  the  first  story 
two  double  arched  windows  with  cusped 
ogee  heads,  joined  by  a  long  balcony  ;  in 
the  second  and  third  stories  is  a  panelled 
wall  between  two  pointed  balconied  win- 
dows in  each  story.  The  windows  as  well 
as  the  arcades  are  all  enclosed  in  square 
panels.  The  stories  are  divided  by  richly 
decorated  string-courses,  the  angles  are 
emphasized  by  twisted  shafts.  The  front, 
with  new  cornice,  is  crowned  by  a  parapet 
comjiosed  of  flat  ]>lates  of  marble,  alter- 
nately high  and  low,  in  the  sha]ie  of  an 


height  of  100  ft.  above  the  pavement,  tlie 
wail  broken  only  by  pilaster-strips.  joine<l 
by  round  arches  enclosing  a  shell-like  dec- 
oration. This  mediiBval  portion  of  the 
tower  was  complete  as  early  as  11.50.  The 
belfry  which  crowned  it  was  repeatedly 
destroyed  by  fire  and  rebuilt,  until  in  1.510 
the  tower  was  finished  in  its  present  form 
by  Bartolomeo  Buon.  The  present  belfry 
consists  of  four  round  arches  on  eacli  face 
supported  on  small  columns,  enclosed  be- 
tween strong  angle  -  pilasters  and  sur- 
mounted by  a  heavy  entablature.  Above 
this  is  a  high  square  pedestal  crowned  by 


498 


VENICE 


a  pyramidal  sj)irc,  the  whole  height  beiiiir 
about  ','yiO  ft.  Tlie  belfry  ifi  readied  by  a 
eoiitiiiuous  inclined  plane  of  very  gradual 
sloi^e,  between  inner  and  outer  walls,  and 
lighted  by  a  line  of  snuill  rouiul-headed 
windows  in  each  face  of  the  tower.  At 
tlie  foot  of  the  tower,  on  the  side  facing 
the  church,  is  the  sumptuous  Loggietta, 
begun  in  1540  from  tlie  designs  of  Sanso- 
vino,  at  first  intended  simply  as  a  meeting 
jjlace  for  the  nobles,  but  serving  later  as  an 
office  or  waiting-room  for  the  jirocurator 
having  charge  of  the  palace  guard.  It 
consists  of  an  order  of  Composite  columns 
on  high  jjedestals,  standing  forward  in 
couples  under  a  very  high  attic  crowned 
by  a  balustrade,  each  couple  enclosing  a 
niche  occupied  by  a  statue.  The  statues, 
four  in  number  and  of  bronze,  are  by 
Sansovino,  representing  Pallas,  Apollo, 
Mercury,  and  Peace,  and  are  admirable 
works.  Between  the  couples  are  round- 
arclied  double  doors,  with  figures  in  the 
spandrels.  The  high  attic  is  divided  by 
pilasters  into  spaces  corresponding  with 
those  below  and  filled  with  S2jirited  bas-re- 
liefs in  marble.  In  front  is  a  raised  terrace 
enclosed  by  an  open  balustrade,  the  entrance 
Ijrotected  by  a  beautiful  bronze  gate  cast  by 
Antonio  Gai  in  1750.    (See  Ficjs.  22 J^,  235. ) 

La  Carita.     See  UArmdrmui. 

The  DoGASA  Di  Make  is  a  picturesque 
object  in  a  conspicuous  position,  at  the 
entrance  of  tlie  (Jraud  Canal.  It  is  a  Re- 
naissance building,  built  in  lG8"-i  from 
the  designs  of  Benoni,  of  a  single  story 
consisting  of  a  rustic  arcade  of  narrow 
arches  on  plain  square  piers  surmounted 
by  a  simjile  cornice  and  balustrade.  At 
the  angle  of  the  canal  is  a  low  square  tow- 
er in  two  stages,  with  a  projecting  portico 
of  rustic  Doric  columns  on  each  face,  and 
above,  a  jjlaiu  story  with  rustic  quoins  and 
square-headed  windows  crowned  by  a  ped- 
estal and  a  globe  sustained  by  two  Atlases. 
bearing  a  gilded  figure  of  Fortune,  which 
turns  appropriately  with  the  wind.  This 
building  is  the  custom  hou.se. 


Doges"  (or  DrcAi.)  Palace.  See  Palaz- 
zo  Duailc. 

FAiiiiUKA  NrovA  (the  New  Build- 
ing). The  westerly  end  of  the  Piazza  S. 
Marco  was  formerly  occupied  by  wings  of 
tlie  Procuratie  Vecchie  on  the  north,  and 
the  Procuratie  Nuove  on  the  south  side. 
Between  these  two  stood  the  church  of 
S.  Gemignano,  built  from  the  designs  of 
Sansovino.  During  the  Prencli  occupa- 
tion of  Venice  tliis  church  was  taken  down 
to  make  way  for  an  extension  of  the  royal 
palace,  whicli  occupied  the  Procuratie 
Nuove.  In  its  place  the  present  building 
was  erected  by  the  architect  Giuseppi 
Soli.  Tliere  are  two  stories ;  the  first  is 
partly  open,  forming  a  central  entrance  to 
the  Piazza,  with  lines  of  columns  support- 
ing the  stories  above.  The  fagade  on  the 
Piazza  is  substantially  a  continuation  of 
the  design  of  the  adjoining  building  on 
the  south,  with  the  addition  of  a  high  at- 
tic decorated  with  reliefs  and  statues  on 
pedestals.  The  rear  fa9ade  is  different, 
the  lower  story  composed  of  rustic  arches 
on  piers,  the  second  of  an  order  of  Corin- 
thian pilasters,  with  an  attic  ;  the  inter- 
vals occupied  by  square  Italian  windows 
with  horizontal  caps.     {Sec  Fig.  235.) 

La  Fenice  (Phoenix),  one  of  the  most 
celebrated  of  Italian  theatres,  was  built 
originally  in  IT'JO  from  the  designs  of  Sel- 
va,  and  rebuilt  after  a  partial  destruction 
by  fire  in  18:i9.  It  has  two  fa9ades,  one  on 
the  Piazza,  or  Campo,  S.  Fantino,  and  the 
other  on  the  small  canal  at  the  ojijiosite 
end  of  the  buildings.  The  former  is  about 
G5  ft.  long,  in  three  stages,  with  a  pro- 
jecting portico  of  fcnir  Corinthian  columns 
in  front  of  a  recessed  vestibule,  above 
which  is  a  central  arch  flanked  by  niches 
with  statues.  The  rear  fa9ade  is  a  high 
plain  wall  with  pedimented  windows  and 
Doric  cornice  over  a  rustic  arcade.  Tlie 
auditorium,  with  its  surrounding  corri- 
dor, is  comprised  within  a  rectangle  of 
about  03  ft.  by  85  ft.,  to  which  the  only 
apiiroach  is  by  two  passages  leading  from 


499 


VENICE 


two  sides  of  the  tluMtrc  ami  inoL'tiiiic  at 
a  corner  of  the  fiiirroundiug  corridor. 
The  plan  ol'  tlie  aiiditorimii  is  that  of  an 
elongated  horseshoe,  surrounded  by  five 
tiers  of  boxes  and  covered  by  a  flat  dome 
about  50  ft.  above  the  floor.  Its  diameter, 
exclusive  of  the  boxes,  is  about  CO  ft.  :  tiie 
distance  from  the  curtain  to  tlie  front 
of  the  boxes,  08  ft.  Tlie  cajjacity  of  the 
theatre  is  three  thousand.  The  breadth  of 
the  curtain  ojiening  is  about  -i.j  ft.  ;  the 
depth  of  the  stage  about  GO  ft.  Two  tol- 
erably commodious  staircases  at  the  angles 
of  the  corridor  give  communication  be- 
tween the  various  tiers,  and  from  tlie  cor- 
ridor in  the  rear  of  the  auditorium  a 
double  stair  leads  to  a  decorated /o^e/-. 

The  FoN'DACo  DEI  Teueschi  was  one  of 
the  buildings,  which  at  an  early  period  of 
the  commercial  prosfierity  of  Venice  the 
Republic  provided,  to  serve  as  storehouses 
and  lodgings  for  the  great  numbers  of  for- 
eign traders  who  frequented  the  city.  It 
was  burned  in  1505,  and  was  rejilaced  liy 
the  present  structure,  a  square  of  about 
KiO  ft.  on  the  (Jrand  Canal,  with  an  inte- 
rior court  about  GO  ft.  square.  The  fa- 
cade on  the  canal  is  of  very  simple  design, 
in  four  stories,  the  first  story  having  in 
the  centre  a  recessed  porch  of  five  round 
arches  on  square  jiilasters,  above  wliit-h 
the  whole  centre  is  slightly  recessed,  with 
coupled  windows  in  each  story,  those  of 
the  second  story  arched.  The  thin  cor- 
nice has  a  singular  battlement  of  detaclied 
square  pedestals,  each  carrying  a  sort  of 
fiuial.  The  interior  court  has  an  open  ar- 
cade on  the  first  story,  and  above  it  three 
similar  stories  of  round-arched  windows. 
Era  Giovanni  Giocondo,  of  Verona,  has 
been  called  the  architect  of  the  building, 
but  documents  seem  to  show  that  it  was 
the  work  of  a  German  called  Ilieronymus. 
or  (iirolamo  Tedesco. 

EoNDAco  i)i;i  Ti'uciii.  a  tyjiical  exam- 
ple of  the  early  Byzantine  palaces  of  Ven- 
ice. Its  exact  age  and  origin  are  un- 
known ;  but  it  is  presumed  to  date  from 


the  X  or  xi  century.  It  was  long  the 
property  of  the  dukes  of  Eerrara,  and  was 
puridiased  of  them  in  IU'^1,  and  devoted  to 
the  jmrjioses  of  an  exchange  or  warehouse 
for  the  use  of  the  Turkish  merchants  who 
frequented  Venice  in  great  numbers.  The 
building  liad  in  the  present  century, 
through  long  neglect  and  the  slightness 
of  its  construction,  fallen  into  hopeless  de- 
cay, and  was  only  saved  from  destruction 
by  a  complete  restoration  in  18ii'.i.  The 
front  on  the  Grand  Canal,  the  only  i)or- 
tion  remaining  of  the  original  jialace. 
which  was  much  more  extensive,  is  about 
KiO  ft.  long,  built  of  brick  faced  with 
thin  slabs  of  marble,  and  consists  of  a  cen- 
tral portion  with  two  stories  of  long  open 
arcades,  flanked  by  two  square  pavilions 
three  stories  in  height,  but  without  i)ro- 
jection  from  tlie  main  line  of  the  front. 
The  lower  arcade,  close  to  the  level  of  the 
water,  has  ten  stilted  round  arches  rest- 
ing on  marble  columns  with  large  foliated 
ca])itals.  The  arches  are  surrounded  by  a 
flat  band  of  colored  marble,  enclosed  by  a 
delicate  dog-tooth  ornament  both  on  the 
outside  and  inside,  and  with  small  roun- 
dels of  marlfle  in  the  spandrels  with  fig- 
ures in  bas-relief  of  animals,  etc.  The 
upper  arcade  has  eighteen  arches,  like 
those  below  in  form  and  treatment,  and 
with  similar  roundels  in  the  spandrels.  A 
balustrade  of  delicate  colonnettes  with 
arches  fills  the  intervals  between  the  col- 
umns. The  cornice  is  small  and  simple, 
and  above  it  is  a  series  of  nine  gables,  like 
dormer-fronts,  connected  by  small  open 
arches,  and  each  panelled  with  white  or 
colored  marble.  The  flanking  pavilions 
have  arched  windows  in  each  story,  witii 
panels  decorated  in  relief,  in  the  third 
story  by  a  light  open  balustrade.  Above 
tlie  second  story  arches  is  a  sculptured 
frieze  of  round-headed  jjanels  of  wliite 
marble,  surrounded  by  bands  of  colored 
marble,  edged  witli  dog-tooth  ornament. 
This  decoration  was  probably  continued 
originally  throughout  the  whole  length  of 


BOO 


VENICE 


the  second  ston-  frieze,  and  is  one  of  the 
most  characteristic  features  of  Byzaiitiiic 
ornament. 

Fkari.     See  Sta.  Maria  Gloriosa. 

(iKSL'iTi.     See  Sfa.  Maria  dei  Gesui/i. 

Tlie  Library  of  St.  Mark,  one  of  the 
most  celebrated  and  familiar  of  all  the 
buildings  of  the  Italian  Renaissance,  and 
commonly  regarded  as  the  greatest  work 
of  its  architect,  Sansoviuo.  It  occujnos 
one  of  the  most  consjiieuous  sites  in  Ven- 
ice, on  the  west  side  of  the  Piazzetta,  over 
against  the  Ducal  Palace,  with  ii  front  on 
the  Piazzetta  of  about  207  ft.,  and  toward 
the  sea  and  the  Piazza  of  about  50  ft.  It 
is  of  two  stories,  each  with  an  order  of  en- 
gaged columns,  Roman  Doric  in  the  first 
story,  Ionic  in  the  second,  the  angles 
strengthened  by  jjilasters.  In  each  the 
intercolumuiations  are  filled  by  round 
arches,  those  of  the  lower  story  oj^en  and 
sjjritiging  from  simple  jjilasters  with 
moulded  imposts,  those  of  the  second 
story  from  coupled  Ionic  columns,  de- 
tached and  bearing  an  entablature  which 
forms  the  impost  of  the  arch.  In  both 
stories  the  arches  have  panelled  soffits, 
keystones  sculptured  with  heads  of  men 
and  beasts,  and  reclining  figures  in  the 
spandrels.  The  upper  order  stands  on  a 
balustrade-course,  and  in  both  orders  the 
frieze  is  of  unusual  height  and  decorated 
with  sculpture,  the  metopes  of  the  lower 
being  charged  alternately  with  medallions 
and  emblematic  devices.  The  niJijer  en- 
tablature is  developed  to  such  an  extent — 
being  jjroportioned  as  a  crowning  feature 
of  the  whole  fagade  rather  than  of  its  own 
order — that  its  height  is  nearly  two-thirds 
that  of  the  column,  and  its  frieze  contains 
flat  windows  enclosed  in  a  frame  of  mould- 
ings with  its  spaces  between  profusely 
decorated  with  festoons  of  flowers  and  fruit 
held  by  ligures  of  children.  Tiie  building 
is  crowned  by  a  high  balustrade  of  which 
the  pedestals  carry  statues,  except  those 
over  the  angles,  which  support  tall  obelisks. 
In  tlie  centre  of  the  lower  arcade  on  the 


Piazzetta  an  arclied  doorway  flanked  by 
caryatids  opens  into  an  imposing  double 
staircase  leading  to  the  second  story,  con- 
taining several  halls,  of  which  the  principal , 
formerly  containing  the  library,  occupies 
the  northern  third  of  the  building,  and  has 
a  fine  vaulted  ceiling  painted  by  Tintoret 
and  Paul  Veronese.  Tlie  books  were  re- 
moved in  1812  to  the  Ducal  Palace,  and 
the  whole  building  now  forms  a  part  of 
the  royal  palace.  It  was  begun  in  153G 
by  Sansovino,  and  finished  after  his  death, 
but  in  accordance  with  his  designs,  by 
Scamozzi  in  1.582.     (See  Figs.  .224,  :2.i5.) 

Madoxxa  DEI  MiUAcoLi.  See  Sta. 
Maria  dei  Miracoli. 

Madoxxa  del  Okto,  a  late  (iothic 
church  of  brick  with  a  singular  and  ratlier 
interesting  fagade,  containing  an  arched 
doorway  with  a  crocketed  ogee  gable, 
pinnacled  with  statues.  Over  the  door- 
way is  a  large  rose-window  from  which 
the  tracery  has  disappeared,  and  at  the 
sides  are  two  beautiful  four-light  windows, 
one  in  the  end  of  each  aisle,  the  shafted 
mullions  crossed  by  transoms.  The  rich 
gable  cornice  of  the  nave  is  surmounted  by 
canopied  pinnacles  bearing  statues,  while 
the  aisles  are  crowned  by  a  sloping  para- 
pet above  the  cornice,  consisting  of  a  line 
of  jiointed  and  cusped  niches  with  statues. 
On  the  south  wall  is  a  tall  square  brick 
campanile  with  a  round  cupola  aljove  the 
belfry  stage,  surmounted  by  a  high  i-ound 
dome.  The  interior,  lately  restored,  has 
pointed  nave  arches  resting  on  marble  col- 
umns with  XIV  cent,  capitals,  and  a  flat 
wooden  ceiling  decorated  with  color  and 
gilding.  The  church  dates  from  the  end 
of  the  XIV  cent.,  and  contains  several  im- 
portant pictures  of  Tintoret,  John  Bellini, 
Cima  da  Conegliano,  and  other  masters. 

iliXT.     See  Zecat. 

Palazzo  dell'  Ambasciatore,  a  xiv 
cent.  Gothic  palace,  of  which  the  front  is 
of  brick  in  three  stages  of  nearly  equal 
height,  with  a  high  stone  basement,  square 
angle  quoins,  and  twisted  angle  shafts  with 


601 


VENICE 


Fig   225— Venice.  Palai!o  Cavalli. 

b;isos  and  capitals,  and  decorated  string- 
courses. In  tlie  centre  of  the  lower  stage 
is  an  ogee-arched  doorway  and  on  either 
side  of  it  two  stories  of  windows,  the  lower 
segmental-arched,  the  ujiper  square,  'i'lic 
second  and  third  stories  have  central  ar- 
cades of  cuspetl  ogee  arches,  those  of  the 
second  story  with  (piatrefoils  above,  and 
ou  each  side  two  single  windows  with  ogee 


by  Hal  architraves  of  marble,  and  small 
windows  arc  irregularly  disposed  on  either 
side.  The  second  story  has  the  central 
arcade  of  five  cusfted  pointed  arches  with 
slightly  ogee  heads,  divided  by  columns, 
and  enclosed  in  a  square  j)anel.  Over  tlio 
centre  of  tlie  panel  is  a  cusped  arch  en- 
closing an  inlay  in  marbles  of  various  col- 
ors, with  a  medallion  bearing  a  peacock 
in  relief.  In  the  third  story  is  a  similar 
arcade  without  finials  or  tracery,  and  with 
a  small  Venetian  balustrade  running  be- 
tween columns  of  the  three  middle  arches. 
The  billet  moulding  is  used  as  a  border 
everywhere.  Broad  bands  of  marble  with 
arabesques  surround  the  detached  windows, 
and  serve  as  string-courses  and  as  a  frieze 
under  the  cornice.  This  building  is  per- 
ha2)s  the  only  one  in  Venice  where  such  a 
decoration  is  to  be  fonnd,  and  some  traces 
of  latei'  jiaintcd  <lccoration  are  to  be  seen  on 
the  walls.    ( Keccntly  restored  and  altered.) 

Palazzo  Bianca  Capi:ll().  See  Pa!- 
ttzvi  Trcrixan. 

I'Ai.A/.zu  Cameklinghi,  an  early  \\v- 
naissanci'  ]ialace  on  the  Grand  ('anal,  at 
the  end  nf  the  bridge  of  the  Rialto,  built 
about,  \')'lb  from  the  designs  of  Bcrga- 
masco.  It  has  three  facades  of  Istrian 
marl}lc.  of  which  the  principal  one  on  the 
canal  has  a  breadth  of  about  C8  ft.,  in 
three  stages,  the  angles  marked  by  conjiled 
pilasters,  with  a  single  window  in  the  in- 
terval, and  carrying  entablatures  wliich 
cross  the  front.     The   first  stage  has  an 


heads  and  pilasters  ill  the  jambs.     All  the 

windows  of  the  second  and  third  stories,  as  arched  doorway  in  a  small  engaged  portico 

well  as  the  arcades,  are  enclosed  in  squared  of  two  Corinthian  columns  on  pedestals, 

panels  foriiic(l    by   a    thin   line   of   billet  flanked    by  two  tiers  of  plain   windows. 


moulding.  In  each  side  of  the  second 
story  stands  a  decorated  niche  containing 
a  statue  of  a  knight. 

Palazzo  Badoeh  PAinicii-AZU),  an 
interesting  though  much  dilapidated  xiv 
cent.  Gothic  palace.  Its  large  brick  front 
is  in  four  stories,  with  its  openings  dis- 
posed without  regard  for  symmetry,  and 
with  much  decoration  of  an  unusual  char- 
acter.    The   square  doorway    is   enclosed 


The  two  upper  stories  alike  have  round- 
arched  windows  arranged  in  groups  ;  ami 
the  front  is  crowned  with  a  meagre  cornice. 
Palazzo  Cavalli,  a  xv  cent.  Gothic 
palace,  much  like  the  Palazzo  dell'  Am- 
basciatorein  the  arrangement  of  its  fai/adc. 
which  is  in  three  stories  and  in  three  nearly 
equal  vertical  divisions,  the  wings  1)eing 
almost  as  broad  as  the  centre.  In  the  sec- 
ond and  third  stories  the  centre  is  filled 


S02 


VENICE 


with  a  contimions  mass  of  traceiT  oonsist- 
ing  of  an  arcade  of  five  pointed  areiies  in 
eacli,  interloeking  witii  circles  and  quatre- 
foils  above  them,  that  in  the  second  story 
modelled  on  that  of  the  Ducal  Palace. 
Below  is  a  broad  ogee-arched  doorway 
flanked  by  two  half  stories  of  windows. 
The  wings  make  an  effective  contrast  to 
the  centre,  the  plain  wall  of  each  being 
pierced  in  each  story  by  a  pair  of  windows 
matching  those  of  the  centre  and  enclosed  in 
squared  jjanels.  A  plain  broad  modern  dor- 
mer surmounts  the  centre.    {See  Fig.  2J5. ) 

Palazzo  Cicogxa  (or  Pasqualigo),  a 
small  palace  dating  from  about  the  end  of 
the  XIV  cent.,  and  interesting  from  the 
peculiar  tracery  of  its  front,  but  nearly  in 
ruins.  The  facade  is  in  two  stories — the 
lower  has  as  a  central  feature  an  arcade 
of  four  round  arches  on  columns,  with  a 
balustrade  between  them.  At  the  left 
of  the  arcade  is  a  broad  square  opening 
reaching  to  the  angle  of  the  front,  where 
the  upper  wall  is  supported  on  a  stout 
column  with  a  foliated  capital.  At  the 
right  is  a  sort  of  wing  with  two  single 
windows.  The  second  story  is  filled  to 
the  cornice  with  an  arcade  of  six  pointed 
openings  of  unusual  height  with  cusped 
heads  divided  by  columns  and  jiilasters, 
with  trefoils  in  the  spandrels,  supporting 
a  unique  mass  of  tracery  consisting  of  two 
tiers  of  quatrefoils  enclosed  in  interlacing 
circles.  In  the  wing  are  two  single  win- 
dows over  those  of  the  lower  story. 

Palazzo  Coxtarixi  (a  San  Gervasio  e 
Protasio),  a  Renaissance  jjalace  on  the 
Grand  Canal  btiilt  by  Scamozzi  at  the 
end  of  the  xvi  century.  Its  facade,  about 
60  ft.  long,  is  in  three  well-marked  stages, 
the  first  a  fine  rustic  basement  with  broad 
piers  with  simjjly  moulded  caps,  a  simple 
round-arched  doorway,  and  plain  square 
■(vindows.  The  second  and  third  stori' 
have  each  an  order  of  coupled  pilaster-. 
Ionic  and  Corinthian  respectively,  the  in- 
tervals occu{)ied  by  long  narrow  arched 
windows  with  balconies.     Over  the  centre 


of  the  front  is  a  broad  dormer  with  an 
order  of  i)ilasters  crowned  with  a  pedi- 
ment, and  enclosing  a  triple  window. 

Palazzo  Contarini  Fasan.  The 
small  l)ut  beautiful  far;ade  of  this  palace, 
which  fronts  the  (irand  Canal,  is  only  a 
wing,  and  has  no  doorway.  It  is  of  In-ick 
in  three  stories,  with  three  plain  square 
windows  below,  and  over  these  a  group  of 
three  stilted  ogee  arches,  decorated  with 
billet-mouldings  and  finials  and  resting 
on  marble  columns  with  well-developed 
capitals.  In  the  third  story  similar  win- 
dows are  enclosed  in  high  square  panels, 
but  the  middle  one  is  replaced  by  a  sculpt- 
ured panel.  The  long  balcony  of  the 
second  story  and  the  single  balconies  of 
the  third  are  filled  with  traceried  panels. 
Each  story  has  twisted  angle-shafts  rest- 
ing on  decorated  string-courses  ;  the  main 
cornice  is  corbelled  with  lions'  heads. 
This  front  belongs  to  the  first  half  of  the 
XIV  century. 

Palazzo  Corner  Ca'  Grande,  an  im- 
posing Kenaissance  palace  on  the  Grand 


v'enice,  Pal.  Corner  Ca'   Grande. 


503 


VEXICE 


Canal,  built  by  Sansovino  in  1532.  It  lias 
a  broad  fa9a(le  in  three  stories,  the  lowest 
of  rustic  work  with  a  centre  of  three  tall 
arches  flanked  on  each  side  by  two  square 
windows  with  columns  and  entablature, 
and  two  smaller  windows  over  them  in  a 
mezzanine  story.  The  second  and  third 
stories  have  orders  of  coupled  three-quar- 
ter columns,  Ionic  and  Composite,  with 
balcom'-courso  aiul  entablature,  the  in- 
tervals filled  with  arched  windows  with 
decorated  keys  and  spandrels.  Tlie  ujqn  r 
frieze  is  very  broad  and  has  a  series  of  liai 
oval  windows  over  the  intervals  below. 
The  interior  has  been  much  changed  siiii'' 
the  fire  of  1S17.  and  is  now  used  as  th. 
Prefecture.     (See  Fig.  226.) 

Palazzo  Couxek  Spixelli.  x\.  xv 
cent.  Kenaissance  palace  ascribed  to  Pietro 
Lombardo,  with  its  front  on  the  Grand 
('anal  divided  into  three  stages,  of  whieii 
the  first,  forming  the  rustic  basement,  is 
the  highest,  and  includes  a  ground  story 
with  an  arched  doorway  between  two  rath- 
er small  windows,  and  a  mezzanine  with 
two  like  windows.  The  windows  are 
similar  to  the  doorway,  which  has  classic 
pilasters  supporting  an  archivolt  with 
decorated  mouldings,  the  whole  enclosed 
in  a  square  panel  with  horizontal  cap. 
At  the  level  of  the  first  floor  is  a  broad, 
richly  carved  base-course.  The  two  upper 
stories,  substantially  alike,  consist  each  of 
four  two-light  windows  separated  by  a 
column,  under  a  round  bearing-arch  with 
a  circle  in  the  arch-head.  The  two  mid- 
dle windows  in  each  story  are  grouped, 
and  all  are  enclosed  in  square  panels,  witli 
disks  in  the  spandrels  and  projecting  bal- 
conies. The  wall-piers  are  also  adorned 
with  disks  and  square  ]ianels.  Tiie  court 
of  the  palace,  of  later  date  than  the  facade, 
is  attributed  to  Sanmicheli. 

Palazzo  Dakio,  one  of  the  smaller  of 
the  early  Renaissance  palaces,  interest- 
ing on  account  of  its  imitation  of  Byzan- 
tine decoration.  The  disposition  of  the 
front  is  singular.     It  is  in  four  stories  ; 


the  water  story  h;is  a  door  between  two 
windows,  all  round-arched  with  Coi-iuthi- 
an  pilasters  at  the  sides,  a  moulded  archi- 
volt and  small  circular  disks  in  the  span- 
drels.    Fourlarger  disks  of  colored  marble. 


Fig   227.— Venice.  Pal.  Dario. 

enclosed  in  lu'oad  carved  marlile  borders, 
ornauu'nt  the  wall-piers,  and  below  them 
is  the  inscription  Urbis  Gexio  Jo.vxxis 
D.\i{ius.  The  three  upper  stories  have 
no  relation  with  the  lower.  The  usual 
per  (join,  or  arcaded  loggia,  instead  of  be- 
ing in  the  centre,  occupies  the  left  side, 
and  is  carried  through  three  stories  of 
arcades  on  slender  Composite  columns, 
witli  a  light  iron  balcony  in  the  middle 
story.  All  the  stories  are  separated  by 
panelled  stylobates,  and  the  whole  faQade 
of  veined  marble  is  decorated  in  all  its 
panels,  spandrels,  and  piers  with  disks  of 
colored  marble,  which  in  the  large  piers 
are  grouped  in  circles,  and  surrounded  by 
interlacing  bands  ornamented  with  great 


604 


VENICE 


or    Doges'   Puhice, 


(Iplicacy   and    beauty.       The   palaee    was 
built  about  U5i).     {See  Fig.  227.) 

Palazzo  Dicale 
the  most  conspicuous  and  famous  exam 
pic  of  the  Gothic  of  Venice  at  its  best 
period.  The  buildings  composing  the 
palace  are  of  various  ages  and  styles,  and 
are  built  round  a  quadrangle  adjacent  to 
the  south  side  of  the  church  of  St.  Mark, 
being  bounded  on  the  other  sides  by  the 
Piazzetta,  Riva  dei  Schiavoni.  and  the 
small  canal  called  the  Rio  del  Palazzo. 
The  exterior  is  a  singularly  uniform  rec- 
tangular mass  unbroken  by  any  salient 
architectural  feature.  The  two  principal 
fronts  toward  the  sea  and  the  Piazzetta  are 
about  234  ft.  and  246  ft.  respectively,  and 
are  alike  and  consist  each  of  two  horizon- 
tal divisions — a  continuous  open  arcade  in 
two  stories,  supporting  a  perfectly  flat 
wall  as  high  as  the  two  stories  below,  en- 
tirely covered  with  a  diaper  of  colored 
marbles,  pierced  with  disconnected  win- 
dows, and  crowned  with  a  row  of  fantas- 
tic battlements.  The  lower  arcade  has 
l)road  and  rather  low  pointed  arches  sup- 
ported on  massive  columns,  with  large  and 
magnificently  sculptured  capitals,  whose 
bases  are  now  half  a  yard  below  the  pave- 
ment. The  arch -mouldings  are  simple 
and  large,  the  only  ornament  being  a  thin 
line  of  nail-heads  separating  the  two  prin- 
cipal members.  The  spandrels  were  orig- 
inally faced  with  a  j^attern  of  colored 
marbles,  which  has  disaj)peared  from  all 
but  two.  The  first  story  is  crowned  by  a 
moulded  belt  with  a  frieze  of  little  rosettes 
in  square  panels.  The  second  story, 
slightly  higher  than  the  first,  consists  like 
it  of  a  continuous  open  arcade  of  pointed 
arches  on  columns  ;  the  arches  being  two 
to  each  of  those  below,  the  columns  much 
slenderer,  the  pointed  arches  higher, 
cusped,  and  of  open  form,  and  interlocked 
in  a  tracery  of  moulded  circles  enclosing 
quatrefoils.  A  balustrade  of  colonnettes 
runs  between  the  columns.  This  story, 
like  the  first,  is  finished  by  a  belt  with  a 


frieze  decorated  witji  rosettes.  There  are 
not  even  piers  at  tiie  corners,  but  in  both 
arcades  the  angle  -  columns  are  larger 
than  the  others,  and  the  angle  above  is 
charged  in  each  story  with  sculpture  of 
the  most  admirable  character  ;  the  angles 
of  the  first  story  Ijearing  groups,  and 
those  of  the  second  each  a  single  figure  of 
an  angel.  Above  this  the  angle  is  marked 
by  a  twisted  shaft  runing  through  the 
height  of  the  solid  wall  and  terminating 
in  a  pinnacle  above  the  cornice.  The 
diaj^er  of  the  third  story  consists  of  mar- 
ble slabs  of  pale  red  and  white,  arranged 
in  a  lozenge  jjattern  uniform  over  the 
whole  surface.  It  is  pierced  on  each  front 
by  seven  broad  and  low  pointed  windows 
nearly  corresponding  in  shape  and  size  to 
the  arches  of  the  first  story.  These  win- 
dows have  thin  columns  in  the  jambs, 
arch  mouldings  c<intinuing  the  shafts, 
and  a  thin  line  of  billet  moulding  carried 
round  jamb  and  arch.  The  central  win- 
dow in  each  front  opens  upon  a  balcony, 
corresijonding  to  the  riiiyhiera  of  the 
town-halls  of  northern  Italy,  and  is  dee- 
orated  with  great  richness,  its  jamb-col- 
umns larger  than  in  the  other  windows, 
its  arch  mouldings  more  fully  develo])ed, 
the  spandrels  adorned  with  figures  of 
winged  angels  or  with  statues  of  saints. 
Octagonal  buttresses  with  canopies  con- 
taining statues  flank  the  wiiuhiw,  and  are 
continued  as  high  as  the  cornice  of  the 
building,  ending  in  heavy  pinnacles  which 
flank  on  the  one  front  a  clumsy  Renais- 
sance gable,  on  the  other  a  projecting  oc- 
tagonal niche  with  three  pointed,  cusped, 
and  gabled  niches  enclosing  sitting  statues. 
In  each  case  the  composition  is  crowned 
by  a  statue  high  above  the  cornice.  In 
the  disposition  of  the  windows  of  both 
fronts  there  is  much  irregularity.  In  the 
Piazzetta  front  is  a  pair  of  snndler  point- 
ed windows  above  those  of  the  third  story, 
and  a  range  of  small  circular  openings 
with  quatrefoils  extends  through  both 
fronts  under  the  cornice.     The  cornice  is 


505 


VENICE 


a  thin,  ineffective  nioiildins;.  and  tlio  liat- 
tlement  is  of  (k'taciied  marble  slabs  pierced 
and  moulded,  alternating  with  slender 
obelisks.  The  entrance  to  the  palace  is 
through  a  gateway  at  the  northern  ex- 
tremity of  tlie  front  on  the  Piazzctta,  set 
back  some  fifteen  feet,  and  immediate- 
ly adjacent  to  the  church  of  St.  Mark. 
This  gateway,  called  the  Porta  della 
Carta,  with  the  elaborately  decorated  wall 
above  it,  is  of  somewhat  later  date  than 
the  fronts.  The  opening  is  square,  en- 
closed by  buttresses  of  great  richness, 
analogous  to  those  that  flank  the  central 
windows.  In  the  second  story  these  en- 
close a  large  pointed  window  in  three 
lights,  the  head  filled  with  beautiful  and 
elaborate  tracery,  and  surmounted  by  a 
high  gable  of  somewhat  whimsical  form, 
charged  with  sculpture  in  relief,  orna- 
mented with  extravagant  crockets  simi- 
lar to  those  of  St.  Mark's  church,  and 
terminating  in  an  ecjually  extravagant 
finial  composed  of  a  large  foliated  capital 
supporting  a  sitting  figure  between  two 
lions.  So  far  the  exterior  architecture  of 
the  palace  is  a  type  of  the  best  Gothic  of 
Italy.  Its  architectural  effect,  which  is 
unique,  lies  in  the  splendor  of  the  arcades 
and  their  audacious  contrast  with  the 
massive  wall  above.  The  forms  are  both 
vigorous  and  graceful,  the  mouldings 
strong  and  effective,  the  decoration  is  ex- 
tremely rich,  extending  in  unbroken  lines 
across  the  whole  extent  of  the  facades. 
We  nuiy  object  to  the  heaviness  of  the  up- 
per story  as  contrasted  with  the  lightness 
of  its  supports,  and  agree  with  Street  that 
it  was  added  to  the  original  design  in  obe- 
dience to  a  later  demand  for  larger  and 
higlier  aj)artmeuts  for  the  Council,  or 
with  Mothes  and  others,  that  the  wall  of 
the  third  story  was  originally  built  over 
tlie  rear  wall  of  the  arcades,  and  was  about 
the  middle  of  tlie  xv  cent,  brought  for- 
ward over  the  columns.  The  construc- 
tion, as  a  fonr  dp  force,  is  perhaps  ques- 
tionable.    The   arcades   look  overloaded. 


tlie  voussoirs  lioth  above  and  below,  as 
well  as  portions  of  the  tracery,  were  much 
dislocated  before  the  recent  restorations  ; 
five  of  the  lower  arches  at  the  easterly  end 
of  the  sea  front  were  filled  up  with  ma- 
sonry, and  the  arches  of  both  stories  are 
held  together  by  continuous  ties  of  iron 
both  lengthwise  and  across  the  arcades. 

The  fa9ades  already  described  are  all 
which  remain  of  the  old  Gothic  palace  dat- 
ing from  13ul  to  1423.  Successive  fires 
were  followed  by  extensive  rebuildings, 
and  in  the  later  of  these  the  native  style 
was  abandoned  for  the  newer  Kenaissance. 
The  architecture  of  the  great  courtyard 
is  very  varied  in  its  treatment,  marked 
everywhere  by  great  richness,  and  much 
sculptured  ornament,  many  of  the  piers 
bearing  niches  enclosing  statues,  the 
friezes  broad,  with  reliefs  of  figures  and 
wreaths,  and  the  two  lower  stories  sur- 
rounded for  the  most  part  by  open  ar- 
cades. The  arcade  of  the  second  story  is 
jjointed.  in  imitation  of  those  outside  : 
the  rest  is  pure  Renaissance.  A  broad 
staircase  of  white  marble  dating  from 
about  1483,  and  known  as  the  Giants" 
Staircase,  with  richly  panelled  sides  and 
balustrades,  leads  from  the  courtyard  to 
the  second  story  arcade,  and  in  the  centre 
of  the  courtyard  are  two  beautiful  cis- 
terns of  bronze  of  about  1.560,  octagonal, 
with  figures  at  the  angles  and  surfaces 
very  rich  in  bas-reliefs.  The  easterly 
side  of  the  palace,  on  the  small  canal,  is 
also,  except  a  bit  of  the  front  corner,  of 
Renaissance  design,  and  is  remarkable  for 
the  variety  of  its  treatment.  The  base- 
ment is  of  vigorous  rustic  work,  each  stone 
cut  into  the  form  of  a  projecting  or  de- 
pressed jiyramid.  Above  this  the  wall  is 
in  fiuir  stages,  separated  by  projecting 
cornices  and  showing  close  ranges  of  win- 
dows in  each  story,  of  various  form  and 
decoration,  some  square  and  some  arched. 
Six  arched  doorways  with  decorated  jambs 
give  access  to  the  first  story  of  the  palace, 
and  from  the  second  story  the  Ponte  dei 


cos 


VENICE 


Sospiri,  or  Bridge  of  Sighs  {q.  i\)  springs 
across  the  cuiuil  to  the  prisous  ou  its  op- 
posite side.  Of  the  interior,  the  interest 
is  confined  to  the  great  halls  of  the  third 
story,  and  these,  having  been  wholly 
changed  as  to  their  architecture  in  the 
Renaissance  period,  are  now  remarkable 
chiefly  for  the  examples  which  tiicy  aft'ord 
of  the  work  of  the  later  Venetian  painters, 
notably   Tintoretto   ami     Paul    \'eroncse. 


divided  by  the  consoles  of  the  cornice  into 
square  panels,  occupied  by  the  portraits 
of  the  doges  from  the  earliest  times. 
Most  of  the  other  larger  and  smaller  halls 
are  equally  magnificent  in  tlicir  pictorial 
decoration. 

The  Palace  now  existing,  itself  the  work 
of  various  ages,  is  the  successor  of  the 
older  Byzantine  palace,  built  early  in  the 
IX   cent.,  verv  soon   after    the   establish- 


Fig    228.— Venice.  Ducal   Palace. 


The  llall  of  the  Great  Council,  an  im- 
mense room  175  ft.  long,  85  ft.  broad,  and 
50  ft.  high,  contains  on  its  east  end  wall 
the  Paradise  of  Tintoretto,  occupying  the 
whole  breadth  and  height  of  the  wall 
above  the  wainscoting  :  the  other  walls 
and  the  ceiling,  which  is  divided  into 
panels  of  extravagant  form  with  florid 
Renaissance  ornamentation,  are  covered 
with  historical  and  allegorical  pictures 
b}'  Tintoretto,  Paul  Veronese.  Palma  Gio- 
vane,   and  other  masters.     The  frieze  is 


ment  of  the  Venetian  state,  and  nearly 
contemporary  with  the  earliest  church  of 
St.  ]Mark.  Although  several  times  dam- 
aged by  fire  it  does  not  seem  to  have  been 
ever  wholly  destroyed,  but  was  restored 
after  each  disaster  with  more  or  less  sub- 
stantial alterations  and  enlargements,  nn- 
til  in  or  about  1301  the  work  of  the 
Gothic  palace  was  begun,  and  carried  on 
in  one  or  another  portion  of  the  buildings 
until  the  middle  of  the  XV  century.  The 
architect  whose  name  has  most  generally 


YEXICE 


been  associated  with  this  work  m-;is  Fil- 
lippo  Ciileiiilario,  who  sutfered  death  in 
1355  for  being  eoiieenied  in  the  conspir- 
acy of  Marino  Faliero.  Tliere  is,  how- 
ever, the  evidence  of  various  contemiio- 
rary  documents  that  he  was  preceded  by 
one  Pietro  Bai-eggio,  to  wl\om  the  design 
of  tlie  arcades  of  the  two  ju-iucipal  fronts 
is  due.  The  later  worlcs  of  tlie  Clotliie 
jDcriod,  incliuling  tiie  Porta  della  Carta, 
apjjear  to  liavo  been  executed  under  the 
different  members  of  the  Bon  or  Buon 
family.  The  Renaissance  architecture  of 
the  courtyard  and  tlie  easterly  fa9ade  on 
the  Kio  <lel  Palazzo  was  by  various  archi- 
tects, including  Antonio  Rizzo.  Pietro  and 
TuUio  Lombardo,  and  Gruglielmo  Berga- 
masco.     {See  Figs.  228,  235,  236.) 

Palazzo  Dlkazzo.  See  Pahizzu  dell' 
Ambasciafore. 

Palazzo  Foscaiu,  a  brick-faced  (foth- 
ic  palace  in  the  style  of  the  xiv  and 
XV  cents.,  with  a  straight  facade  divided 


TTTTT 


Fig.  229.— Venice,  Pal.  Foscan. 


into  the  semblance  of  a  centre  and  wings, 
as  is  usual  in  the  Venetian  palaces,  by  the 
grouping  of  the  openings.  The  lower 
story  is  plain,  Avitli  central  door  and  a 
range  of  windoAVS,  ogee-arched.  Above 
this  all  the  openings  are  framed  in  rec- 
tangular panels  in  the  usual  Veneto-Sara- 
cenic  fashion.  The  wings  have  two  single 
windows  in  each  story.  In  the  second  and 
third  the  central  division  is  occupied  by 
open  loggias,  with  arches  and  columns  ; 
in  the  third  these  arches  have  the  Ducal 
Palace  tracery  of  quatrefoiled  circles  ;  the 
fourth,  added  later,  has  in  the  middle  a 
group  of  four  lights  and  intersecting 
tracery,  and  the  whole  finishes  with  a 
corbelled  cornice.  The  balconies  of  both 
loggias  and  the  carved  belt  over  the  upper 
are  Renaissance.  The  jjalace  was  built,  it 
is  said,  near  the  end  of  the  xiv  cent.,  bj' 
the  Giustiniaui,  who  built  also  its  two 
neighbors  on  the  south  ;  the  fourth  story 
was  added  by  the  doge  Foscari  about  1438. 
{.See  Fig.  229.) 

Palazzi  Giustiniani.  Two  xiv 
cent.  Gothic  j)alaces,  forming  practi- 
cally a  single  comjiosition  and  making, 
with  the  adjoining  Foscari  palace,  one 
of  the  nu;st  conspicuous  groups  on  the 
Grand  Canal.  The  fa9ade  is  in  four 
stories,  of  which  the  first  has  round- 
arched  and  pointed-arched  doorways, 
and  several  square  and  narrow  win- 
dows. In  each  the  windows  are  massed, 
after  the  Venetian  fashion,  in  the  mid- 
dle of  the  front,  into  two  stories  of 
traceried  arcades,  ornamented  with 
projecting  balconies  and  surmounted 
by  a  tracery  of  quatrefoils,  the  arches 
being  pointed  and  cusped.  Single 
windows  are  disposed  at  intervals  with 
j)ointed  and  cusped  arches  enclosed  in 
square  panels.  All  the  windows  of 
the  second  and  third  stories  have  pro- 
jecting balconies.  Two  of  the  piers 
of  the  third  story  are  decorated  with 
S(piare  panels  and  disks  of  colored 
marble. 


SOS 


VENICE 


Palazzo  Grimaxi  (ii  San  Luca). 
formerly  Post  Ottiue  now  Court  of 
Ajjpeals.  A  xvi  cent.  Renaissance 
l^alace  by  Sanniiclieli,  on  tlie  Gnind 
Canal,  with  an  admirable  facade  in 
tliree  stories  decorated  -with  tlnve 
Corinthian  orders,  of  pilasters  in  the 
first  story,  and  of  colli mns  in  the 
upper  two.  Of  the  live  intereolum- 
niations  in  each  story,  the  two  at  the 
ends  are  enclosed  by  coupled  ^^ilasters 
or  columns,  thus  preserving  the  con- 
ventional division  of  the  Venetian 
palaces  into  centre  and  wings.  The 
first  story  has  high  entrance  arches 
in  the  three  middle  intervals,  be- 
tween two  ranges  of  square  windows. 
These  arches  give  entrance  to  an  ob- 
liquely rectangular  vestibule  divided 
into  three  aisles  by  coui^led  Corin- 
thian columns.  In  the  upper  stories 
broad  round-arched  windows  alter- 
nate with  pairs  of  smaller  square 
windows  one  above  another.  A  bal- 
ustrade crosses  the  whole  front  of  the 
second  story.  The  scale  of  the  facade  is 
very  large,  and  the  simplicity  and  tem- 
perance with  which  it  is  treated  make  it 
one  of  the  best  examples  in  Venice  of  the 
domestic  Renaissance. 

Palazzo  Loredan,  an  early  Byzantine 
palace  on  the  Grand  Canal,  probably  con- 
temporary with  the  Foudaco  dei  Turchi, 
which  it  resembles  in  its  general  disposi- 
tion. Its  front  is  about  GO  ft.  long,  and 
consisted  originally,  as  in  most  of  the  By- 
zantine palaces,  of  two  stories,  to  which  in 
recent  times  a  third  and  an  attic  have 
been  added  of  incongruous  character.  The 
front  was  divided  into  three  portions,  a 
central  open  arcade  in  each  story,  the 
arches  round  and  stilted,  and  resting  on 
columns  of  colored  marble  with  fully  de- 
veloped foliated  capitals  ;  the  side  di- 
visions with  two  windows  in  the  lower 
story  and  three  in  the  upper,  matching 
the  arches  of  the  centre,  and  in  the  second 
story  forming  a  eontinnons  arcade  across 


Fig.  230. — Venice,  Pal.  Loredan, 

the  front.  The  upjoer  arches  had  orig- 
inally a  light  balustrade  between  the  col- 
umns, which  has  been  replaced  by  a  rather 
clumsy  balcony  front  in  panels.  Above 
the  second  story  arcade  the  wall  was 
decorated  with  disks  of  colored  marble, 
set  over  the  spandrels  ;  some  of  these  disks 
still  remain  ;  others  have  been  replaced 
by  more  elaborate  decorations.  These 
are  additions,  presumably  of  the  xiv  cen- 
tury. This  palace,  though  much  dilapi- 
dated, is  pronounced  by  Mr.  Ruskin  the 
most  beautiful  in  the  whole  extent  of  the 
Grand  Canal.     {Sec  Fig.  JSO.) 

Palazzo  Maniii,  a  Renaissance  palace 
on  the  Grand  Canal,  built  about  1560  by 
Sansovino.  It  has  a  large  front  in  three 
stories,  of  which  the  lowest  is  an  open  ar- 
cade of  six  equal  arches  with  Doric  pi- 
lasters between,  bearing  an  entablature. 
Above  this  are  two  full  orders  of  columns 
and  entablatures,  Ionic  in  the  second 
storv,  Corintliian  in  the  tliird,  tlie  division 


Ron 


VENICE 


into  a  centre  and  two  wings  rather  sug- 
gested than  carried  out  by  making  four 
intervals  in  the  width  of  the  two  central 
ones  below.  All  the  intervals  are  occu- 
pied by  rather  narrow  round-arched  win- 
dows with  thin  pilastei's  in  place  of  archi- 
traves. The  second  story  has  a  ijrojectiug 
balcony  supjjorted  on  consoles  ;  the  third 
a  balustrade  with  jiedestals  supporting  the 
columns.  The  frieze  of  the  ripper  order 
is  enlarged  and  decorated  with  sculj)tured 
lieads  over  the  columns  ;  the  cornice  is 
carried  on  consoles. 

Palazzo  Pasqualigo.  See  Palazzo 
Cicogna. 

Palazzo  Pesaro.  This  is  perhaps  at 
once  the  richest  and  most  vigorous  ex- 
ample of  the  Renaissance  domestic  archi- 
tecture of  Venice.  Its  front  consists  of  a 
high  basement  of  bold  rustic  work,  sur- 
mounted  by  two  fully  developed   orders, 


Fig.  231,— Venice.  Pal.  Pesaro. 


Ionic  and  Corinthian,  witii  arches  in  tin; 
intervals.  The  centre  of  tlic  basement  is 
occupied  by  two  arched  doorways  and  a 
ji'tuecn    Iwi)  sipiaiT  win- 


graceful    nirli 


dows  an  eitlier  side.  Coupled  columns  in 
the  two  njjper  stories  part  off  the  centre 
and  wings.  h\  each  of  these  stories  the 
columns  are  set  above  a  balustrade,  that  of 
the  second  story  running  in  front  of  the 
columns,  that  of  the  third  story  between 
them.  The  arches  throughout  the  col- 
umns have  boldly  projecting  sculptured 
keystones  and  reclining  figures  in  the 
spandrels.  The  upjser  frieze  is  very  high 
and  decorated  with  sculptured  panels, 
and  the  cornice  is  sujjported  by  projecting 
consoles.  The  palace  was  begun  in  IGTSj ; 
Longhena  was  its  architect.  {See  Fig. 
231.) 

Palazzo  Pisaxi  Mouetti,  one  of  the 
latest  of  the  Gothic  jialaces,  built  at  the 
beginning  of  the  xv  century.     Its  front  is 
of  three   stories  with   the  usual   division 
into  centre  and  wings.     The  lowest  story 
has    the    unusual  feature  of   two   similar 
jjointcd  -  arched   d  o  o  r - 
ways  occupying  the  cen- 
tre.    Above,  the  central 
division  consists  of  a  rich 
arcade  of  six  arches  in 
each  story,   the  tracery 
of  the  second  story  like 
that  of  the  Ducal  Palace  ; 
tiiat  of  the  third  story 
with  interlacing  arches 
of   rather  clumsy  form 
with    (|uatrefoils    above 
them.     The  central  ar- 
cade has  a  projecting  Pe- 
naissance  balcony  in  the 
t^econd  story,  and  in  the 
third   a   balustrade    be- 
tween thecolumiLs.   The 
side  divisions  have  each 
two   single   windows  in 
the  second   and  third 
stories,  with  ogee  heads 
enclosed   in  high  square 
panels  and  witii  jn-ojectijig  balconies. 

Pal.\zzu  IiKzzoMco.  ;i  K'cnaissauce 
palace  on  the  (irand  Canal,  built  about 
KJSii.   by    Longhi'iia.    witii    a    third    story 


VENICE 


added  aftor  his  deatli  l)y  Massari.  'I'lio 
lower  story  has  au  order  of  ru.stie  engaged 
Doric  columns  and  pilasters,  three  open- 
ings in  the  centre  giving  access  to  an 
entrance  vestibule,  with  two  srpniro  win- 
dows on  each  side.  The  second  and 
third  stories  consist  each  of  an  order  of 
engaged  columns,  Ionic  and  Corinthian, 
with  round-arched  windows  in  the  in- 
tervals, the  spandrels  decorated  with 
sculpture,  and  balustrades  between  the 
columns.  The  frieze  of  the  npjjcr  en- 
tablature is  broadened  to  admit  a  series 
of  elliptical  windows  with  consoles  be- 
tween.    {See  Fig.  23.2.) 

Palazzo  Sarredo,  a  xiv  cent.  Gotli- 
ic  palace  with  an  interesting  and  curi- 
ously irregular  facade  on  the  Grand 
Canal,  adjoining  the  Ca'  d'Oro.  It  is 
in  three  stories,  to  which  a  fourth  has 
been  added,  of  insignificant  character. 
The  lowest  story,  raised  by  a  single  stej) 
above  the  water  of  the  canal,  has  sim- 
ple round-arched  doorways,  and  plain 
square  windows.  The  usual  loggia,  in 
the  principal  story,  the  tliird,  con- 
sists here  of  four  cusjied  and  point- 
ed arches,  surmounted  by  a  tracery  of 
quatrefoils  and  inclosed  in  a  square  pan- 
el, and  flanked  by  two  single  windows 
of  like  design,  all  with  corbelled  balco- 
nies. Below  is  a  gronj)  of  six  simple 
pointed  arched  windows,  again  flanked  by 
two  others.  The  windows,  as  well  as  the 
arcade  in  the  third  story,  have  each  a  pro- 
jecting balcony  of  the  usual  Gothic  type. 
The  front  is  built  of  rude  brickwork  cov- 
ered with  plaster,  now  much  decayed. 

Palazzo  Saxudo,  now  ^'anaxel,  a 
Gothic  palace  of  the  first  half  of  the  xiv 
cent.,  and  substantially  unchanged  both 
in  its  main  features  and  its  details.  It  is 
of  three  stories,  the  first  a  plain  basement 
with  square  windows  and  a  pointed  door- 
way. The  ogee-headed  windows  in  the 
second  and  third  stories  are  centred  in  a 
group  of  five  in  each  story,  divided  by 
shafts  and  with  projecting  balconies,  and 


tlie  front   is  crowned  by  a  thin  projecting 
cornice  supported  on  brackets.     The  ar- 


chitecture of  thcCi-ont    is  conliiHU'd   for 


a 


Fig.  232.— Venice, 


Rezzonico. 


short  distance  on  the  left  side,  where  an 
interesting  pointed  doorway  still  closed  by 
the  original  richly  carved  doors,  gives  ac- 
cess to  a  sjjacious  entrance  hall  extending 
across  the  whole  front  of  the  palace,  and 
opening  by  pointed  arches  on  a  courtyard 
which  contains  a  fine  staircase  of  white 
marble  of  even  date  with  the  building,  and 
with  much  admirable  detail.  The  court- 
yard contains  also  a  fine  stone  well-curb 
richly  sculptured. 

Palazzo  Trevisak  (alia  Canoniea),  a 
XV  cent,  transitional  palace,  with  a  fa(,'ade 
about  80  ft.  long,  in  four  stages,  each  with 
four  Ionic  pilasters  with  entablature,  di- 
viding the  front  into  a  centre  and  two 
wings.  The  lower  story  has  a  central 
round -arched  doorway,  flanked  by  two 
square  windows  on  each  side,  and  in  each 
wing  a  doorway  and  one  window.  The 
ui^iser  stories  have  each  a  central  arcade 


VENICE 


of  six  arches,  aiul  in  eacli  wing  two  single 
windows  with  a  circnhir  window  liigli  up 
m  the  pier  between  tlieni.  The  windows 
of  the  second  and  third  stories  have  grace- 
ful balconies,  and  the  wall  surfaces  of  the 
wings  are  decorated  with  a  Byzantine  in- 
lay of  colored  marble  disks,  and  panels  of 
great  delicacy  and  beauty.  The 
palace  became,  in  1577,  the  prop- 
erty of  Bianca  Capello,  whose 
name  it  also  bears. 

Palazzo  Trevisano  (a  Sta. 
Maria  Formosa),  a  Renaissance 
lialace  built  in  1525-35,  by  Sante 
Lombardo,  with  a  facade  of  about 
70  ft.  in  three  stories.  The  cen- 
tre is  marked  in  the  first  story  by 
two  round-arched  doorways,  with 
a  square  doorway  between,  open- 
ing on  a  narrow  bridge  which 
crosses  the  small  canal  on  wliich 
the  palace  fronts.  The  two  upper 
stories  have  each  a  central  arcade 
of  four  rour.d  arches  on  Com- 
posite columns,  flanked  by  two 
corresponding  windows  on  each  side.  The 
angles  are  marked  in  each  storv  bv  broad 
flat  panelled  Composite  pilasters,  carrying 
entablatures  which  are  continued  across 
the  front,  and  the  u])per  one  of  which 
makes  the  cornice  of  the  Iniilding.  The 
broad  piers  between  the  side  windows  and 
the  friezes  are  ornaniciitcd  with  panels  and 
disks  of  various  colorcil  marbles. 

Palazzo  Vendka.mix  Calerhi,  one  of 
the  largest  and  finest  of  the  Renaissance 
palaces  of  the  Grand  Canal.  Its  front  is 
about  80  ft.  long  and  05  ft.  high,  in  three 
stories,  each  ornamented  with  a  Comjios- 
ite  order  of  columns  or  pilasters,  dis- 
posed according  to  the  usual  arrangement 
of  the  earlier  Gothic  jialaces,  the  three 
central  bays  being  separated  from  the  two 
lateral  ones  by  a  nari'ow  interval  of  wall. 
The  order  is  in  the  first  story  one  of  p;ni- 
elled  pilasters ;  above,  of  engaged  col- 
umns, fluted  in  the  second  story,  plain 
in  the  third.     The  second  story  is  crossed 


by  balconies  of  which  the  detail  has  still 
much  of  the  feeling  of  the  earlier  (iothic 
work.  Except  the  two  lateral  windows  of 
the  first  story,  which  are  square,  all  the 
windows  are  substantially  ,'dike.  consisting 
of  two  sub-arches  carried  on  a  column 
under   an    enclosing    arch    with    a   circle 


Fig,  233.— Venice,  Pal.  Vendramin. 

between.  The  crowning  entablature  is 
enormously  disproportioncd  to  the  col- 
umns. The  front  is,  for  the  most  jjart,  of 
gray  Istrian  stone,  with  the  columns  and 
portions  of  the  wall  of  white  marble,  and 
the  medallions  and  other  ornaments  of 
porphyry,  serpentine,  and  other  costly 
stones.  The  building,  by  Pietro  Lombar- 
do, dates  from  1481.     {See  Fig.  233.) 

'['he  Piusoxs  (I  Carceri),  a  Renaissance 
building  erected  in  1589  by  Antonio  da 
Ponte,  with  a  front  toward  the  sea  and 
another  on  the  small  canal  which  sepa- 
rates it  from  the  Ducal  Palace,  with 
which  it  is  connected  by  the  Bridge  of 
Sighs  ('/.  r.).  The  sea-front  is  in  two 
stories,  the  lower  of  rustic  arches  sur- 
mounted by  a  strong  belt-course  on  which 
stands  the  quasi-Doric  order  of  the  sec- 
ond story,  the  three-quarter  columns 
backed  by  flat  engaged  pilasters,  and  the 
intervals  filled  with  rustic  walling  ])ierced 
by   stjuare  windows  with  a  decoration  of 


612 


yENICE—S.  MARCO,  CENTRAL  PORTAL 


VENICE 


simple  ll;it  entablatnres  aiul  pediments, 
the  latter  alternately  triaiicjular  and  seg- 
mental. The  side  on  the  canal  is  of  quite 
different  architecture,  a  strong  rustic  wall 
2)iereed  with  three  stories  of  small  square 
windows  without  ornament. 

The  Procuratie  are  two  long  ranges  of 
buildings  occupying  nearly  the  whole  of 
the  north  and  south  sides  of  the  Piazza  San 
JIareo.  The  Procuratie  Vecchie,  on  the 
north,  was  built  in  15 IT  for  the  residence 
of  the  Procurators  of  St.  Mark,  a  body  of 
officers  uniting  man}-  of  the  most  impor- 
tant administrative,  municipal,  charitable, 
and  ecclesiastical  functions.  The  faQade 
has  three  stories  of  arcades  on  columns,  of 
which  the  lowest  is  open,  with  broad  round 
arches,  fifty  in  number,  the  others  glazed, 
with  two  arches  to  each  of  those  below. 
Above  the  arcades  is  a  lower  fourth  story 
with  round  windows,  and  the  front  is  ter- 
minated by  a  thin  cornice  with  a  battle- 
ment similar  in  character  to  that  of  the 
Ducal  Palace.  It  is  not  clear  to  whom 
the  design  of  this  building  should  be  as- 
cribed.    (See  Fig.  235.) 

The  Procuratie  Nuove,  on  the  south 
side,  was  erected  in  1584  to  furnish  resi- 
dences and  offices  for  the  increased  num- 
ber of  Procurators.  The  architecture  of 
the  Library  (q.  v.),  which  has  a  front  of 
some  50  ft.  on  the  Piazza,  is  continued  in 
these  buildings,  but  Scamozzi,  to  whom 
the  work  was  entrusted,  cut  down  the  in- 
ordinate height  of  the  second  story  frieze, 
and  added  a  third  story  consisting  of  a 
Corinthian  order  with  balustrade,  the  in- 
tervals filled  with  square  windows  deco- 
rated with  columns  supporting  entaldature 
and  pediment,  the  latter  alternately  tri- 
angular and  segmental,  and  each  bearing 
two  reclining  figures.  These  buildings 
were,  during  the  occupation  of  Venice  by 
Xapoleon,  converted  into  a  royal  i)alace 
for  the  occujiation  of  the  Viceroy. 

II  Redextore,  one  of  the  most  familiar 
of  the  Renaissance  churches  of  Venice, 
was  built  by  Palladio  in  157G,  as  an  offer- 


ing of  gratitude  for  the  deliverance  of  the 
city  from  the  plague  of  the  previous  year, 
by  which  forty  thousand  people  arc  said 
to  have  perished.  Its  facade  is  masked  by 
a  tetrastyle  Corinthian  portico  with  pedi- 
ment covering  the  nave.  Between  the 
columns  is  a  great  arched  central  door 
decorated  with  a  smaller  Corinthian  order 
and  pediment,  and  side  niches  with  stat- 
ues. The  whole  is  raised  on  a  high  base- 
ment and  api^roached  by  a  broad  flight  of 
marble  steps  with  balustrade.  The  small- 
er order,  with  pilasters,  covers  the  ends  of 
the  aisles,  ami  is  continued  round  the 
sides  of  the  church.  The  interior  shows 
a  broad  nave  in  three  divisions,  with  a 
barrel-vault  springing  from  an  unbroken 
entablature  over  coupled  Corinthian  col- 
umns on  the  faces  of  the  jjiers,  and  two 
stories  of  niches  between  them,  the  pier- 
arches  springing  from  lower  engaged  pilas- 
ters. The  narrow  aisles  are  divided  into 
long  chajiels  with  niches  at  either  end. 
The  nave  leads  to  a  central  square  sur- 
mounted by  a  dome,  and  surrounded  by 
three  apses  in  place  of  the  usual  well- 
marked  choir  and  transept. 

The  RiALTO.  This  famous  bridge  is 
the  successor  of  many  earlier  ones,  the  first, 
a  bridge  of  boats,  later  ones  of  wood,  of 
which  the  last  was  built  in  1553.  This 
having  in  its  turn  been  destroyed,  it  was 
determined  that  a  stone  bridge  should  be 
built,  and  designs  were  received  from 
Michael  Angelo,  Sansovino,  Vignola,  and 
Scamozzi.  Tlie  work  was  finally  given  to 
Antonio  da  Ponte,  under  whom  the  bridge 
was  begun  in  1588  and  finished  in  1591. 
It  is  imagined  to  rest  on  twelve  thousand 
piles,  and  is  a  single  segmental  arch  of 
nearly  90  ft.  span,  with  footways  sloping 
upward  from  each  bank  of  the  canal  to 
the  centre,  where  is  a  small  level  interval. 
The  whole  breadth  is  about  TO  ft.,  of 
which  about  20  ft.  in  the  middle  is  given 
to  a  central  passageway  flanked  on  either 
side  by  a  row  of  shops,  outside  of  which 
is  an  outer  footway  about  10  ft.  wide,  jiro- 


613 


VENICE 


tected  by  a  balustrade.  Above  this  is  an 
open  arcade  following  tlie  slope  of  the 
bridge,  of  six  arches  on  each  side  with 
rustic  piers  and  voussoirs  ;  the  central 
arch  being  larger  and  enclosed  1)V  flat  pi- 
lasters with  a  broken  pediment.  Tlie 
structure  is  of  white  marble,  and  a  douljlo 
flight  of  steps  gives  access  to  it  at  eitlier 
end. 

S.  Fraxcesco  della  Yigxa,  a  Kenais- 
sance  church  built  from  the  designs  of 
Sansovino  in  1.53:5.  Its  plan  is  a  rectangle 
about  100  ft.  wide  and  180  ft.  long,  from 
the  east  end  of  which  the  choir  i3rojects 
some  TO  ft.  The  division  of  the  plan  is 
curious  :  tlie  nave,  about  53  ft.  wide,  is 
flanked  by  five  square  chapels  on  eacli 
side,  opening  through  round  arches  in  the 
intervals  of  an  order  of  pilasters,  above 
which  the  clerestory  wall  is  similarly  divid- 
ed, each  bay  having  a  single  jjlain  round- 
arched  window.  The  clerestory  ends  in  a 
cornice  with  consoles,  above  which  is  a 
coved  ceiling.  The  nave  is  continuous, 
and  the  arms  of  the  transept  open  from  it 
like  larger  chapels.  The  long  choir,  cor- 
responding to  the  transept,  is  divided  into 
two  equal  portions  with  the  raised  altar 
between  them,  and  is  flanked  ou  each  side 
by  two  chapels  and  a  narrow  jjassage  run- 
ning its  whole  length. 
The  choir  and  the  chapels 
of  the  nave  are  raised 
above  the  nave  floor  by 
three  steps  following  the 
entire  outline  of  the  nave 
and  transept.  The  fa(;ade 
is  by  Palladio,  and  consists 
of  a  centre  and  wings  fol- 
lowing the  outline  of  the 
nave  and  aisles,  the  centre 
faced  with  a  great  Corin- 
thian portico  of  four  col- 
umns with  pediment,  the  sides  having  each 
;i  lialf  pediment  with  a  smaller  order,  of 
wliich  the  entablature  is  at  the  level  of 
the  aisle  cornice,  and  stops  against  tlie  col- 
umns of    the  central    portico.     A    single 


lofty  door  and  a  lunette  above  it  are  the 
only  openings. 

S.  Giorgio  Maggiore.  A  Renaissance 
church,  part  of  an  old  convent  on  a  little 
island  opposite  the  Piazzetta,  built  in  I.jCo 
from  the  designs  of  Palladio,  on  the  site  of 
a  former  church  which  dated  from  the  x 
century.  Its  facade,  following  the  outline 
of  the  nave  and  aisles,  is  ci'ossed  by  an 
order  of  Corinthian  pilasters  as  high  as  the 
aisles.  A  lofty  engaged  portico  in  front 
of  the  nave  is  raised  on  tall  pedestals  to 
cover  the  height  of  the  clerestory,  and 
crowned  with  a  pediment.  The  first  order 
appears  through  its  intercolumniations, 
which  are  filled  with  niches  and  statues ; 
and  in  the  middle  is  a  high,  roiind-arched 
door.  The  corners  and  the  ridge  are 
marked  by  acroteria  bearing  statues.  The 
interior  is  cruciform,  with  nave  and  tran- 
sejit  covered  by  elliptical  barrel-vaults,  and 
the  crossing  by  a  hemispherical  dome. 
The  aisles  are  groined,  and  separated  from 
the  nave  by  square  piers  surrounded  by  en- 
gaged columns  and  pilasters  on  pedestals, 
and  connected  by  broad  round  arches  with 
an  entablature  above.  The  transept  ends 
are  semicircular,  the  choir  is  shut-off  by  a 
two-story  screen,  with  the  raised  organ  be- 
hind it  and  the  altar  beneath.     The  choir- 


Fig.  234.— Verlce,  S  Giorgio  Maggiore. 

stalls,  which  are  of  unusual  richness  and 
elegance,  were  executed  at  the  end  of  the 
XVI  cent,  liy  Albert  de  ]?rulle.  a  Fleming, 
and  a  number  of  Venetian  artists.  A  fine 
l)rick    canipauile    rises    fi'ijni    the    N.    E. 


514 


VENICE 


corner  of  the  cliurcli,  plain,  with  a  stone 
belfry  having  a  great  square  opening  on 
each  face,  tlivided  by  two  cohmuis  witli 
entablature  and  balustrade,  and  a  circular 
lantern  above,  with  sharp  conical  sjiire. 
The  choir  is  a  single  rectangular  groined 
bay,  flanked  by  two  smaller  octagonal 
steeples  with  bulbous  spires.  From  this 
opens,  by  an  arch  sj^ringing  from  conjjled 
columns,  a  retro-choir  or  chapel  of  the 
full  width  of  the  choir  and  twice  as  long, 
ending  in  a  semicircle.  Attached  to  the 
church  is  a  cloister  built  in  1579  from 
Palladio's  designs,  with  round  arches  on 
coupled  Ionic  columns,  and  a  refectory  a 
few  years  earlier  than  the  church,  contain- 
ing a  vestibule  some  30  ft.  square,  with  a 
fine  staircase  leading  to  the  great  hall 
above,  30  ft.  wide,  nearly  100  ft.  long,  and 
50  ft.  high,  and  considered  among  the 
finest  of  Palladio's  works.     {See  Fig.  23 Jf.) 

S.  Giovanni  Crisostomo,  a  Renais- 
sance church  begun  in  1483  by  ]\Ioro  Lom- 
bardo,  the  exterior  not  remarkable.  It  is 
a  type  of  a  considerable  group  of  churches 
with  the  Byzantine  plan  of  a  Greek  cross 
enclosed  in  a  square,  and  a  central  dome 
carried  on  four  square  jiiers.  The  pro- 
portions here  are  slender,  the  square  jjiers 
are  small,  carrying  an  entablature  over 
the  arches  which  spring  from  them.  The 
nave  terminates  in  an  apsidal  choir,  and 
the  aisles  in  semicircular  apses.  It  con- 
tains some  good  reliefs  by  Tullio  Lom- 
bardo,  rejiresenting  the  coronation  of  the 
Virgin,  and  the  twelve  apostles. 

SS.  Giovanni  e  Paolo,  one  of  the 
most  important  of  the  Gothic  churches  of 
Venice.  It  is  cruciform  in  plan,  with  a 
total  length  of  about  325  ft.,  and  a  breadth 
across  the  transept  of  150  ft.  It  has  a 
nave  and  two  aisles,  transept,  choir,  and 
eastern  apse,  built  with  brick  throughout 
and  (if  somewhat  rude  execution.  Its  ex- 
terior is  not  noteworthy.  The  front  is  in 
three  divisions  corresponding  to  the  nave 
and  aisles,  and  separated  by  square  but- 
tresses ending  in  tabernacles  crowned  with 


spires.  An  arcade  of  pointed  arches 
stretches  across  the  whole  lower  portion, 
the  middle  arch  containing  the  great  door- 
way of  the  nave.  Over  this  is  a  central 
arcade  of  seven  openings.  These  two 
stories  of  arcades  doubtless  answer  to  the 
openings  of  a  portico  or  narthex  which 
originally  stood  before  the  front  with  a 
gallery  above  it.  Above  the  portico  was  a 
large  traceried  rose-window,  but  the  tra- 
cery has  disappeared.  The  sides  present 
high  aisle  walls  divided  by  square  but- 
tresses into  bays  corresjionding  with  those 
of  the  interior,  each  bay  having  a  triple 
jjoiuted  window.  The  clerestory,  divided 
like  the  aisle  wall  by  square  buttresses, 
and  subdivided  by  pilaster  strij)s,  has  sin- 
gle pointed  windows.  The  high  transep)t 
is  plain  and  bare,  and  the  east  end,  as  in 
the  church  of  the  Erari,  is  the  most  at- 
tractive portion  of  the  exterior.  The 
great  apse  of  the  choir  is  seven-sided  and 
is  divided  into  two  stories  by  a  strong 
brick  cornice,  and  a  balustrade  above  it. 
Its  tall  windows  are  divided  by  tracery, 
set  back  from  the  wall  surface,  the  jambs 
being  deejily  splayed.  The  interior  has  a 
nave  and  aisles  of  five  bays,  those  of  the 
nave  square,  those  of  the  aisles  oblong, 
and  all  covered  with  simple  four-part 
vaulting  of  brick.  The  nave,  40  ft.  wide, 
reaches  the  unusual  height  of  128  ft.  The 
nave-piers  are  round  and  massive,  with 
large  leafed  capitals  from  which  engaged 
shafts  rise  through  the  clerestory  to  take 
the  vaulting-ribs.  The  clerestory  is  very 
high,  with  a  single  pointed  window  in 
each  bay.  The  square-ended  transept  has 
one  bay  to  each  arm,  vaulted  like  those 
of  the  nave,  and  the  crossing  is  covered  by 
a  light  hemisjoherical  dome,  somewhat 
resembling  those  of  S.  Antonio  at  Padua. 
Two  apsidal  chapels  open  from  the  eastern 
side  of  each  arm.  The  choir  is  very  long, 
and  in  general  disposition  similar  to  that  of 
the  Frari.  The  church  was  begun  after 
1234,  but  its  building  was  often  inter- 
rupted, and   it   was   only   consecrated   in 


SI  5 


YEXICE 


1430.  It  contains  many  romarkablp  monu- 
ments, among  others  those  of  the  doges 
Morosini,  Mocenigo,  Yendramiu,  and  Cor- 
luii'o,  and  two  pit^tures  by  Tintoretto 
wliicli  are  reckoned  among  his  best  works. 
There  are  several  hxteral  chapels,  notably 
the  Chapel  of  the  Rosary  in  the  north 
aisle,  in  which  Titian's  famous  picture  of 
St.  Peter  Alartyr  was  burned  a  few  years 
ago. 

S.  Marco  (St.  Mark's),  one  of  the  most 
important  and  interesting  of  European 
churches,  and  the  most  characteristic  and 
sjilendid  examiile  of  the  Byzantine  archi- 
tecture and  decoration  transplanted  to 
the  west.  Its  plan  is  nearly  a  Greek  cross, 
with  nave  and  clioir  of  about  -iO  ft.  broad, 
the  transept  arms  about  8  ft.  less,  and  all 
flanked  by  aisles  of  half  their  width.  Tiie 
interior  length  is  not  far  from  230  ft.,  the 
breailtli  across  the  transept,  195  ft.  The 
nave  and  choir,  the  arms  of  the  transept, 
and  the  square  of  the  crossing,  are  each 
covered  by  a  hemispherical  dome  of  ma- 
sonry, above  which  is  a  high-shouldered 
dome  of  wood.  A  close  ring  of  windows 
surrounds  the  bases  of  the  domes,  wliich 
are  of  unequal  size  ;  those  of  the  crossing 
and  the  nave  being  each  about  i'i  ft.  in 
diameter,  the  others  about  30  ft.  The 
interior  is  rather  low ;  the  nave  is  less 
than  70  ft.  high,  and  the  highest  domes 
only  93  ft.  The  square  bays  covered  by 
the  domes  are  separated  from  each  other 
by  narrow  rectangular  bays  covered  by 
barrel- vaults.  The  aisles,  both  of  nave  and 
transept,  are  covered  by  transverse  barrel- 
vaults  as  high  as  those  of  the  nave,  and  are 
separated  from  the  nave  and  transept 
by  screens  of  alabaster  columns,  bearing 
round  arches  much  stilted  and  slightly 
horseshoe  in  form,  over  which  is  a  narrow 
passage  or  gallery  protected  by  a  horizon- 
cal  fence  or  balustrade,  divided  into  pan- 
els with  Byzantine  carving.  The  central 
dome  rests  on  four  great  arches  springing 
from  piers  about  2'>  ft.  square,  through 
which  are  carried    in  two  ilirections  the 


aisles  of  the  nave,  transept,  and  choir. 
The  choir  and  its  aisles  each  terminate  in 
a  round  apse,  of  which  the  outline  is  varied 
by  semicircular  niches  in  the  thickness  of 
the  wall.  The  floor  of  the  choir  is  slightly 
raised  above  that  of  the  nave,  and  sei^a- 
rated  from  it  by  a  screen  of  eight  columns, 
raised  on  a  liigii  stylobate,  beneath  which 
nuiy  be  seen  a  portion  of  the  older  By- 
zantine screen,  and  bearing  a  horizontal 
entablature  crowned  with  fourteen  statues 
of  apostles  and  saints.  Similar  screens, 
each  of  four  columns,  placed  a  little  to 
the  eastward,  close  the  choir  aisles  from 
the  transept,  and  still  another  crosses  the 
choir  in  a  line  with  tlie  front  of  the  high 
altar.  At  each  end  of  the  choir  screen  is  an 
ambo  of  marble,  supported  on  columns, 
that  at  the  north  end  being  two  stages  in 
height,  approached  by  a  staircase  from  the 
choir  aisle,  and  crowned  by  a  hemispheri- 
cal dome.  The  high  altar  stands  under  a 
baldacchino  or  canopy  consisting  of  four 
columns  of  alabaster,  covered  with  rings 
of  small  arches  on  colonnettes,  each  en- 
closing a  figure  in  relief,  and  carrying 
simple  round  arches  with  a  horizontal  cor- 
nice finishing  the  wall  above.  Behind 
the  altar  is  a  remarkable  reredos  called  the 
Pala  d'Oro,  an  interesting  and  sumptuous 
example  of  early  metal  and  enamel  work, 
reputed  to  have  been  made  in  Constanti- 
nople for  this  church  and  brought  to  Ven- 
ice early  in  the  xii  century.  But  the 
historical  evidences  of  its  origin  are  con- 
tradictory, and  it  is  evidently  a  composite 
work,  of  various  ejiochs  and  styles.  The 
material  is  silver  gilt,  witli  pictures  and 
inscriptions  in  enamel,  the  subject  being 
treated  with  the  ua'ivete  characteristic  of 
the  art  of  the  early  middle  ages,  and  ar- 
ranged in  eighty-three  panels,  of  which 
the  greater  part  are  narrow  upright  com- 
partments enclosing  a  single  figure  of  a 
saint,  the  larger  ones  bearing  groups.  The 
surfaces  are  farther  enriched  with  gems  of 
brilliant  colors.  The  apse  is  lighted  by 
three  simple  round-headed  windows  above 


516 


VENICE 


tlieiiielies,  and  this  is  the  form  of  nearly 
all  the  wiinlows,  the  exce})tiou.s  buiiig  the 
great  semicircular  window  in  the  fa9ade, 
and  a  large  rose-window  in  the  sonth  trans- 
ept, with  thin  Gothic  tracery,  quite  out  of 
keeping  with  everything  else  in  the  church. 
Beneath  the  choir  and  its  aisle  is  a  crypt 
cruciform  in  plan,  divided  by  some  sixty 
columns  of  Greek  marble  intosmall  vaulted 
bays,  and  with  a  small  altar,  which  for- 
merly enclosed  the  bodj*  of  the  saint,  just 


the  vestibule  is  occupied  by  the  Chapel  of 
Cardinal  Zeuo  and  by  the  Baptistery,  the 
latter  containing  in  the  centre  a  large 
basin  of  porphyry,  with  a  remarkable 
bronze  cover  surmounted  by  the  statue  of 
John  the  Baptist,  and  on  the  south  wall 
the  tomb  of  the  doge  Andrea  Dandolo. 
Opening  from  the  eastern  end  of  the  north 
choir  aisle  is  the  sacristy,  a  noble  room 
some  "25  ft.  by  (io  ft.,  with  a  coved  ceiling 
covered  with  adnurable  mosaics,  mostly  of 


\.  St.  Mark's. 
2,  Ducal   Palace. 


3,  Campanile. 

4.  Library. 


Fig.  235. — Venice,  Piaiza  S.  Marco. 
A,  Piazza.     B,  Piazzetta. 

5.  Zecca.  7,  Fabbriche  Nuove. 

6,  Procuratie  Nuove.  8,  Procuratie  Vecchie. 


9,  Clock  Tower. 
10,  Prisons. 


under  the  high  altar  of  the  choir.  The 
western  arm  of  the  cross  is  surrounded  on 
the  front  and  sides  by  a  closed  vestibule  or 
narthex  of  somewhat  later  date  than  the 
church,  of  which,  on  the  exterior,  it  forms 
the  most  consiiicuous  and  familiar  })ortion, 
and  with  the  interior  of  which  it  com- 
municates by  four  doorways  opening  into 
the  nave,  aisles,  and  transept.  It  is  di- 
vided by  j)oiuted  arches  into  square  bays, 
each  covered  by  a  low  dome,  and  is  deco- 
rated profusely  with  mosaics  of  the  same 
character  and  magnificence  with  those  of 
the  church  {.see  hehw).     The  south  side  of 


the  XVI  cent.,  and  walls  decorated  with 
Renaissance  pilasters  of  dark  walnut  deli- 
cately carved,  and  panels  of  wood-inlay 
with  pictorial  subjects.  The  sacristy 
opens  also  from  the  apse  of  the  choir  by  a 
doorway  closed  by  a  remarkable  bronze 
door,  one  of  the  most  celel)rated  works  of 
Sansovino.  The  chapel  at  the  north  end 
of  the  transept  contains  some  extremely 
beautiful  and  characteristic  detail  ;  a  fine 
tomb  in  an  arched  recess,  with  sculptured 
spandrels  and  the  walls  and  vaults  covered 
with  admirable  mosaics.  Of  the  interior 
of  this  church  it  may  be  said  that  there  is 


617 


VENICE 


notliiug  eitlier  in  its  dimensions  or  general  surronndeil  by  a  broad  joint  of  white 
design  to  entitle  it  to  the  })re-eminence  jjlastcr,  but  the  pictorial  subjects  are 
wlijch    if    lidlds  among   the   clmrches   of     treated  with  simplicity  and  grandeur,  the 


-T!^'^ 


Fig.  236. — Venice,  S.  Marco  and  Ducal   Palace. 


Europe,  and  which  is  due  almost  wholly 
to  the  splendor  and  variety  of  its  decora- 
tions. Among  these  the  most  important 
place  belongs  to  the  mosaics.  The  walls 
are  faced  to  the  height  of  the  nave  ar- 
cades with  slabs  of  a  pale  marble  to  which 
age  has  imparted  a  mellow  tone.  Above 
this  both  walls  and  vaults  throughout  the 
church  are  covered  with  gold  mosaics  of 
the  most  magnificent  character,  of  which 
the  greater  portion  belong  to  the  end  of 
the  XII  cent.,  or  beginning  of  the  xiii, 
while  a  few  date  back  to  the  period  just 
following  the  completion  of  the  church  in 
1071,  and  some  are  as  late  as  the  xvi  cen- 
tury. The  earlier  are  by  far  the  most 
interesting  and  admirable,  as  adapted  to 
the  purpose  of  surface  decoration.  Their 
setting  is  irregular,  and  the  tcsseriB  are 


colors  are  at  once  rich  and  harmonions, 
and  the  effect  of  the  whole  interior  thus 
decorated  is  one  of  great  solemnity.  The 
mosaic  pavement  is  not  the  least  note- 
worthy feature  of  this  interior.  It  is  of 
the  sort  known  as  opus  Alexandrinum,  of 
a  surprising  variety  of  designs  and  colors. 
The  exterior  appears  to  have  been  original- 
ly simple,  and  even  rude  ;  its  character, 
though  no  exact  information  exists  in  re- 
gard to  it,  may  be  inferred  from  that  of 
the  transept  ends  as  they  now  appear. 
Broad  surfaces  of  plain  wall  are  decorated 
in  the  lower  part  with  marble,  disposed 
mostly  in  panels  of  various  colors  and 
shapes,  and  with  many  bas-reliefs,  mainly 
of  l?yzantine  character  ;  the  upjier  portions 
are  of  rude  brickwork  plastered  and  bare 
of  ornament,  with  small,  narrow  windows. 


VENICE 


and  terminating  in  low  curved  gables. 
The  front  had  doubtless  a  porch  or  nar- 
thex  covering  the  breadth  of  the  nave  and 
aisles,  with  a  gallery  over  it.  This  was 
rebuilt  in  whole  or  in  part,  iu  the  xr  or 
XII  cent.,  and  extended  in  the  Xiv  cent, 
on  the  north  and  south  sides  as  far  as  the 
transej)t.  The  architecture  of  this  por- 
tion of  the  chirrch  is  quite  unexampled. 
The  fagade  presents  an  arcade  of  five 
broad  and  lofty  round  arches,  covering 
recesses  of  great  dejith,  of  which  the  cen- 
tral and  two  end  ones  are  nearly  semi- 
circular in  plan,  and  the  intermediate  ones 
square,  but  all  ornamented  with  a  multi- 
tudinous array  of  columns  iu  two  stages 
covering  the  Jambs  and  the  faces  of  the 
piers.  The  shafts  are  of  various  kinds  of 
marble,  porphyry,  alabaster,  verd-antique, 
and  of  various  sizes  and  shapes,  round  and 
polygonal,  smooth  and  fluted,  most  or  all 
of  them  brought  from  the  East  in  obedi- 
ence to  the  command  of  tlie  Senate,  many 
of  them  bearing  Armenian  or  Syrian  in- 
scriptions. The  capitals  are  all  of  white 
marble,  but  of  an  inexhaustible  variety  of 
designs.  The  central  arch  is  much  larger 
than  the  others,  being  about  2.5  ft.  broad, 
while  the  side  arches  are  about  16  ft.,  and 
is  surrounded  by  a  broad  archivolt  of  ex- 
tremely rich  and  beautiful  carving,  cutting 
up  through  the  long  balustrade  which 
surmounts  the  arcade.  All  the  arches  en- 
close square  doorways  with  stilted  arched 
heads,  over  which,  and  filling  the  head  of 
the  arch  above,  are  mosaic  pictures,  the 
subjects  mostly  connected  with  the  legend 
of  the  transportation  of  the  body  of  St. 
Mark.  The  great  arcade  is  lengthened  by 
the  addition  of  a  small  portico  or  pavilion 
at  each  end,  with  a  narrow  open  arch  as 
high  as  the  others.  The  arcade  occupies, 
perhaps,  two-tliirds  the  whole  height  of 
the  facade.  Above  it — the  long  balustrade 
forming  a  strong  horizontal  demarcation 
between  the  two  parts  of  the  front — is  a 
series  of  five  round  arches  answering  to 
those  below,  but   treated,  so   far   as  the 


arches  themselves  are  concerned,  with 
much  greater  simplicity.  The  central 
arch,  much  broader  and  higlier  than  the 
rest,  is  entirely  filled  with  a  great  window 
30  ft.  wide,  through  wdiich  a  flood  of  light 
is  admitted  through  the  nave,  and  in  front 
of  which  stand  the  four  colossal  bronze 
horses  brought  from  the  Hippodrome  at 
Constantinople  in  1204,  of  whose  earlier 
history  many  questionable  stories  are  told. 
The  four  lesser  arches  enclose  each  a  small 
plain  round-beaded  window,  the  arch  head 
being  fllled  with  mosaic.  All  the  arches 
are  surrounded  by  carved  archi volts,  that 
of  the  centnd  arch  the  largest  and  richest, 
and  all  are  surmounted  by  ogee  gables 
decorated  with  wild  and  extravagant 
crockets,  and  terminated  by  statues.  In 
the  central  gable  is  the  winged  lion  of  St. 
Jlark  on  a  field  of  blue  mosaic.  Between 
the  arches  are  tall  pinnacles  with  arched 


Fig.  237. — Venice,  S.  Marco. 

canopies  enclosing  statues  and  finished 
with  spires.  Behind  these  rise  the  great 
domes  of  various  sizes  and  heights,  covered 
with  metal  and  crowmed  with  bulbous 
cupolas.     The  effect  of  the  whole  is  one 


519 


VENICE 


of  iiKlcscribable  strangeness,  as  far  re- 
moved from  tlie  .soaring  majesty  of  the 
nortliern  cathedrals  as  from  the  noble 
simplicity  and  repose  of  the  Greek  temples. 


Fig.  238— V.  ;    •,;  , 

yet  from  neither  of  these  does  one  receive 
a  more  profound  and  lasting  impression. 
Tlic  building  is  both  without  and  within 
a  vast  storehouse  of  Byzantine  art  in  form 
aiul  color  ;  the  mosaics  are  more  extensive 
and  magniticent  than  in  any  other  existing 
monument,  unless  it  be  Sta.  Sofia  at  Con- 
stantinople, and  in  no  other  can  the  best 
qualities  of  Byzantine  sculpture  be  more 
profitably  studied.  The  greater  part  of 
the  capitals  follow  the  Corinthian  model, 
but  in  portions  of  the  building,  notably 
tiie  vestibule,  the  baptistery,  and  a  beau- 
tiful octagonal  baldacchino  ('overing  a 
small  altar  in  the  nave,  a  great  number  of 
characteristic  and  admirable  examples  of 
Byzantine  capitals  are  to  be  found.     The 


earliest  church  on  this  site  dated  fmni 
830,  and  was  dedicated  to  St,  Theodore. 
It  was  to  this  church  tiiat  the  body  of  St. 
^lai'k  was  brought,  after  having  been  se- 
cretly brought  away  from  Alex- 
andria ;  it  was  burned  in  9TG, 
and  at  once  rebuilt.  The  new 
church  appears,  however,  to 
have  been  still  again  rebuilt, 
having  been  finally  finished  as 
late  as  1071  under  the  doge 
1  )omenico  S  e  1  v  o ,  and  conse- 
crated in  1094  on  the  miracu- 
lous recovery  of  the  body  of 
the  saint.  The  mosaics  were 
for  the  most  part  added  during 
the  two  following  centuries, 
'{'he  arcliitect  is  unknown,  and 
much  cnntroversy  has  been 
maintained  on  the  question 
whether  he  was  a  native  Vene- 
tian or  an  imported  Greek.  The 
church  was  originally  the  offi- 
cial cha2)cl  of  the  doges  and  at- 
tached to  the  palace  ;  it  became 
the  cathedral  only  as  late  as 
1807.     {See  Figs.  235-238.) 

Sta.  Maria  del  Carmine, 
a  cruciform  church,  formerly 
attached  to  a  Carmelite  monas- 
tery, has  the  characteristics  of 
an  old  basilica  modernized  in  the  xvii 
cent.  ;  but  is  reisuted  to  have  been  built 
in  the  xiv.  It  is  cruciform,  and  has  a 
nave  with  arcades  of  twelve  arches  carried 
on  old  columns,  now  ijainted,  whose  lower 
parts  are  encased  in  moileru  octagonal 
pedestals.  Above  the  columns  the  interior 
is  all  transformed ;  statues  are  bracketed 
out,  one  from  each  spandrel,  under  a  rococo 
entablature:  the  nave  has  an  elliptical 
groined  vault,  with  large  semicircular  win- 
dows in  lunettes  ;  the  upjier  walls,  show- 
ing no  clerestory,  are  all  occupied  by  great 
square  paintings,  one  in  each  bay.  The 
aisles  are  flat-ceiled.  The  tran.sept  arms 
are  walled  off  from  the  choir,  which  has 
perhaps   been    extended    southward    (the 


sso 


VENICE 


church  fronts  north),  and  ends  in  a  groined 
polygjonal  apse.  The  front,  reniodelkHl 
like  tlic  interior,  is  plain  and  nniniportant. 
Tlie  church  is  said  to  have  been  built  on 
the  site  of  an  earlier  one — perhaps  only 
enlarged  or  restored — in  the  middle  of  the 
XIV  century. 

Sta.  Maria  dei  Gesuiti,  the  Jesuits' 
church,  is  in  plan  substantially  a  rejietitiou 
of  Vignola's  church  of  the  Jesuits  in  Rome. 
It  is  cruciform,  with  barrel-vaulted  nave 
and  choir  bordered  by  chajK-ls,  short  tran- 
sept arms,  a  domed  crossing,  and  a  square 
east  end.  The  interior,  lined  with  a  sin- 
gle order  of  coupled  Corinthian  pilasters, 
is  decorated  with  an  amazingly  sumptuous 
inlay  of  colored  marbles,  chiefl}'  green  and 
white,  in  a  damask  pattern  which  covers 
even  the  shafts  of  the  columns.  The 
vaults  are  rich  with  stuccoed  ornament 
and  gilding,  and  an  elaborate  rococo  bal- 
dacchino  covers  the  high  altar,  the  work 
of  Giusepi^e  Pozzo.  The  fa(;ade  is  adorned 
with  a  huge  order  of  smooth  Corinthian 
columns,  and  a  row  of  statues 
on  the  rake  of  the  great  pedi- 
ment breaks  the  sky-line.  The 
church  was  built  in  the  first 
quarter  of  the  xviii  cent.,  tlie 
facade  by  Giovanni  Battista 
Fattoretto,  the  interior  by  Do- 
menico  Rossi.    (See  Fig.  239.) 

Sta.  Mama  Gloriosa  dei 
Frari,  the  church  of  the 
Frari,  is  after  St.  Mark's  per- 
hajis  the  most  noted  church  in 
Venice.  Its  exterior  is  for  the 
most  part  bare  and  uninterest- 
ing. It  has  a  poor  facade 
divided  into  three  compart- 
ments, each  with  a  round  win- 
dow, by  jDilasters  or  buttresses 
terminating  in  pinnacles  with 
canopies,  the  central  division  having  a 
pointed  arched  doorway  and  gable  with  a 
similar  pinnacle  at  the  apex.  The  opening 
is  flanked  by  two  large  buttresses  in  the 
form  of  octagonal  turrets,  divided  into  six 


stories  of  panels  and  bearing  each  a  statue. 
The  interesting  portion  of  the  east  end 
is  the  apse  of  the  choir.  It  is  polygonal 
in  plan,  with  an  angle  instead  of  a  face  in 
the  central  axis.  It  has  two  high  stories 
of  single  pointed  windows,  subdivided  by 
geometrical  tracery.  The  jambs  arc  all  of 
brick,  the  areh-lieads  of  stone,  and  a  dec- 
orated brick  archivolt  encloses  the  stone 
arch  ;  a  corbelled  string-course  separates 
the  stories  ;  the  upper  cornice  is  small  and 
simi^le.  The  polygonal  wall  of  the  apse, 
not  continuous  with  the  square  bay  of 
the  choir,  abuts  against  a  simulated  east 
wall,  consisting  of  two  heavy  buttresses, 
bridged  by  a  gable,  which  stop  the  ar- 
caded  cornice  of  the  rest  of  the  church. 
On  each  side  of  the  apse  the  exterior  zig- 
zag wall  of  the  lateral  chapels  of  the  tran- 
sept jiresents  a  series  of  faces  which  are 
treated  like  those  of  the  lower  story  of  the 
apse.  In  the  angle  between  the  north 
aisle  and  transept  is  a  square  campanile, 
with    two  stories  of  blind  arches,  and  a 


fjISSf**^ 


belfry  stage  with  three  round  arches  in 
each  face,  with  a  heavy  cornice  and  an  oc- 
tagonal stage  above.  The  whole  church 
is  about  2(J0  ft.  long  by  KJO  ft.  across  the 
transept.     The  interior  of  brick  has  a  nave 


631 


VENICE 


and  aisles  of  six  bays,  oblong  in  the  nave 
and  square  in  the  aisles,  with  pointed 
arches  springing  from  high  round    piers 


Fig   240.— Venice.  Church  of  the  Frari,  Apse. 


with  rather  low  foliated  capitals,  a  low 
clerestory  with  ngly  lunettes  in  place  of 
what  were  probably  small  rose-windows. 
The  aisles  are  nearly  as  high  as  the  nave, 
with  a  simple  long  and  narrow  pointed 
window  in  each  bay.  Clustered  vaulting 
shafts  rise  from  the  capitals  of  the  piers 
on  the  nave  side  to  the  spring  of  the 
simple  four-part  brick  vaults.  The  aisle 
vaults  spring  from  pilasters  corbelled  out 
from  the  walls  at  mid-height.  Each  arm 
of  the  transept  is  divided  into  two  oblong 
bays  vaulted  like  those  of  the  nave.  From 
the  eastern  wall  of  each  arm  (>[)en  tlirei^ 
vaulted  (•hai)el.s,  terminating  in  ])olygonal 
apses  with  an  angle  in  the  middle.     The 


choir  has  a  single  square  bay  covered  by 
a  groined  vault,  and  the  polygonal  apse 
already  described.  This  apse  is  imposing 
from  its  great  height  and  its  two  stories  of 
traeeried  windows,  containing  some  frag- 
ments of  very  rich  glass.  A  portion  of 
tlie  nave  west  of  the  transept  is  enclosed 
and  occupied  by  some  richly  decorated 
Renaissance  stalls.  The  screen  separating 
them  from  the  nave  is  an  elaborate  com- 
jiosition  of  pilasters  and  arches,  the  latter 
lilled  with  bas-reliefs  arranged  in  panels. 
A  tine  and  large  sacristy  opens  from  the 
south  end  of  the  transept,  and  tlie  whole 
of  the  north  aisle  is  bounded  by  a  cloister 
of  no  great  interest.  The  church  was 
begun  in  13o0  and  finished  in  1280. 
Xiccolo  Pisano  has  been  called  its  archi- 
tect, but  apparently  without  reason. 
The  campanile  is  a  century  later.  The 
cluirch  contains  some  of  the  most  inter- 
esting monuments  in  Venice.  {See  Fiq. 
240.) 

Sta.  Maria  Maddalexa,  a  circular 
Henaissance  church  of  the  xviii  cent., 
built  from  the  designs  of  Tommaso  Te- 
manza.  Its  interior  diameter  is  about  53 
ft.,  it  has  an  order  of  six  pairs  of  Ionic 
columns  with  rectangular  niches  in  the 
intervals  under  round  arches.  The  un- 
liroken  hemispherical  dome  has  no  drum, 
and  is  crowned  with  a  circular  lantern. 
In  one  of  the  intervals  of  the  order  is  a 
great  entrance  doorway  ;  in  the  opposite 
interval  the  open  arch  leads  to  a  small 
square  choir  covered  by  a  low  dome,  with 
a  semicircular  apse  on  each  side.  The 
exterior  has  an  order  of  flat  pilasters  with 
blind  arches  between,  under  an  attic  which 
carries  the  flat-looking  dome.  At  the  en- 
trance is  an  Ionic  portico  with  two  couples 
of  columns  and  a  pediment. 

Sta.  ^Iai!ia  dei  iliuACOLi.  called  also 
Madonna  dei  Miracoli,  a  small  early  Re- 
naissance church,  with  a  singular  facade 
of  great  richness,  ]irobabIy  by  Pietro  Lom- 
bardo.  It  is  in  two  stages,  with  a  great 
semicircular    gable    covering    the    entire 


VENICE 


front,  and  a  central  door.  Each  story  is 
divided  into  live  bays  by  engaged  pilasters, 
Corinthian  below,  Ionic  above,  the  former 
carrying  an  entablature  broken  over  the 
pilasters,  the  latter  carrying  round  arches. 
Two  of  the  upper  bays  contain  tall  round- 
headed  windows.  In  the  other  bays,  both 
above  and  below,  the  wall  is  faced  with 
slabs  of  wliite  marble  in  which  are  inlaid 
patterns  of  red,  yellow,  black,  and  green 
marbles.  The  great  gable  has  a  grouji  of 
round  windows.  The  decoration  is  con- 
tinued, but  with  less  richness,  on  the  sides. 
The  interior  is  a  single  oblong  hall  cov- 
ered by  a  richly  jianelled  and  decorated 
barrel-vault  of  wood,  the  east 
end  raised  by  several  steps  above 
the  jjrincipal  floor,  forming  a 
presbytery  enclosed  by  a  balus- 
trade, with  an  octagonal  pulpit 
at  each  end.  From  the  east 
wall  of  the  presbytery  opens 
the  square  sanctuary,  by  a 
round  arch  springing  from  an 
entablature  over  Corinthian 
pilasters,  with  similar  arches 
on  the  side  walls  and  at  the 
east  end,  over  the  small  apse. 
Over  these  four  arches  rises  a 
dome  on  a  low  drum,  covered 
by  an  external  dome  of  wood. 
Under  the  sanctuary  is  the  sa- 
cristy approached  by  a  spiral 
stair  in  a  small  octagonal  cam- 
panile. The  church  was  begun 
in  1481  and  finished  in  1189. 
{See  Fig.  24I.) 

Sta.  Maria  della  Salute, 
one  of  the  most  familiar  and 
conspicuous   of    the    Venetian 
churches,   was    built   in    1633 
from  the  designs  of  Longhena, 
in  accordance  with  a  decree  of 
the    Senate,    to    commemorate 
the  cessation  of  the  plague  of  the  pre- 
vious years.     Its  plan  is  an  octagon  about 
65  ft.   in  diameter,   supporting   a   hemi- 
spherical dome  on  a  high  tambour,  and 


surrounded  by  an  octagonal  aisle  about  20 
ft.  wide,  from  each  side  of  which,  except 
the  two  in  the  longitudinal  axis  of  the 
building,  opens  a  shallow  rectangular 
chapel.  The  dome  is  supported  on  eight 
nmssive  piers  carrying  round  arches,  aiul 
in  each  angle  is  a  detached  column  whose 
entablature  makes  the  impost  of  one  great 
statue.  Each  face  of  the  octagonal  tam- 
bour has  two  round-headed  windows. 
The  choir,  opening  from  the  easternmost 
face  of  the  aisle,  expands  into  a  sort  of 
transept,  having  a  square  central  bay 
flunked  by  two  apses  and  covered  by  a 
high  dome.      Behind  it  is  a  retro-choir. 


:41.— Venice.  Sta.  Maria  dei   Miracoli 


connected  by  a  triumphal  arch.  The  ma- 
terials and  decoration  of  the  church  are 
sumptuous.  The  exterior  in  white  mar- 
ble is  imposing  and  picturesque,  the  west- 


523 


VENICE 


Ftg    242  —Venice,  S,  M.  della  Salule. 

cm  fncc  of  the  octagon  being  emphasized 
by  a  portico  of  four  Oorintluan  columns 
in  form  of  a  triumphal  arch,  with  pediment 
and  balustrade-course.  The  jiortico  is 
approached  by  a  broad  and  stately  flight 
of  stejis  from  the  canal.  The  chapels 
projecting  from  the  surrounding  aisle  are 
treated  in  two  stages :  the  lower  stage 
witli  an  order  of  four  Corinthian  pilasters 
witb  niches  in  the  intervals  containing 
statues,  the  upjier  with  a  large  semicir- 
cular window  flanked  by  i)ilastcrs  and 
surmounted  by  a  pediment.  The  tam- 
bour of  the  great  dome  is  decorated  with 
pilasters  bearing  an  entablature  and  balus- 
trade-course, and  from  the  two  pilasters 
at  each  angle  of  the  octagon  enormous 
scroll-buttresses  project  over  the  roof  of 
the  surrounding  aisle,  but  the  dome  is 
said  to  be  of  timber.      The   lesser  dome 


over  the  choir  is  flanked  by  two 
slender  square  campaniles,  which 
with  the  two  domes  group  pictu- 
resquely in  any  general  view  of 
the  church.  All  the  pediments, 
and  even  the  scrolls  surroujiding 
the  great  dome,  are  surmounted 
by  statues.  The  church  is  im- 
agined to  rest  on  more  than  a 
million  piles,  and  is  said  to  have 
cost  more  than  half  a  million  gold 
ducats.     {See  Figs.  2J^,  243.) 

Sta.    Maria    Zoi!exigo.    or 
deir  Annunziata,  a  Renaissance 
clnirch  built  in  IGSO.  on  the  site 
of  three  earlier  churches  dating 
from  the  v,  vii.  and  x  cents., 
respectively.   The  present  struct- 
ure is  chiefly  remarkable  for  its 
facade,  designed  by  Sardi,  and 
an  example  of  the  worst  extra va- 
^     L;ances  of  the  later  IJenais.sance. 
J      It  is  in  two  stages,  the  lower  di- 
I      vided  into  five  bays  by  coupled 
i     Ionic  columns  on  high  pedestals, 
*     with  a  broken  entablature,  and 
enclosing   in   tlie   middle  inter- 
val  a    round  -  arched    doorway, 
and   in  the  others  decorated  niches  con- 
tainiuff  statues.    The  same  arrangement  is 


Fig.  243.— Venice,  S,  M.  della  Salute. 


634 


VEXrCE 


repeated  agaiust  the  nave  over  tlie  three 
middle  intervals,  the  order  being  here 
Corinthian,  and  the  centre  occnpied  by  a 
statue  raised  on  a  high  jjedestal  which 
divides  a  sarcophagus,  with  a  background 
of  stone  drapery.  Above  is  piled  a  mass 
of  architectural  fragments  —  caryatids, 
statues,  pediments,  trophies,  and  the  like. 
The  baroco  nave  is  lined  with  a  broken 
order  of  Ionic  columns,  carrying  a  coved 
ceiling  with  lunettes.  It  is  flanked  by 
six  lateral  chapels,  and  ends  in  a  square 
choir. 

S.  MoisE  (St.  Moses),  a  late  Eenaissance 
church  rebuilt  in  1C88  by  Tremignauo, 
on  the  remains  of  two  older  churclies,  the 
first  of  the  viii  cent.,  the  second  of  the  xv 
century.  Little  of  the  earlier  work  is  jire- 
served  in  the  present  structure,  which  is 
chiefly  remarkable  for  its  fa9ade,  in  which 
the  worst  extravagances  of  the  Eenaissance 
are  exemjilified.  The  interior  contains 
some  notable  pictures,  among  them  one  Ijy 
Tintoretto. 

S.  NiccoLO  DEI  ToLEXTixi,  a  conspic- 
uous Renaissance  church  begun  in  ir)91 
by  Scamozzi,  from  the  designs  of  Palladio, 
who  had  died  some  years  before.  Its  plan 
is  jjccnliar  in  some  resj^eets,  including  a 
nave  about  45  ft.  broad,  from  which  open 
three  square  chapels  on  either  side,  occu- 
pying the  jilace  of  aisles,  and  connected 
with  the  nave  by  round  arches  in  the  in- 
tervals of  a  florid  Corinthian  order,  from 
the  entablature  of  which  sjiriugs  the  bar- 
rel-vault of  the  nave  with  lunettes  enclos- 
ing semicircular  windows.  The  transept 
ends  are  two  shallow  bays  continuing  the 
line  of  the  outer  wall  of  the  chapels,  and 
from  each  projects  a  square  chapel.  The 
choir  is  a  long,  narrow  rectangle.  The 
crossing  was  to  have  been  covered  by  a 
round  dome,  of  which  only  the  drum  was 
built,  now  covered  by  a  low  conical  roof. 
The  front  consists  of  a  great  Corinthian 
hexastyle  portico,  of  the  whole  breadth 
and  height  of  the  church. 

S.  Salvatoke,  a  Kenaissance  church  be- 


gun in  1506  by  Giorgio  Spavento,  and 
continued  in  1530,  under  TuUio  Lombar- 
do.  It  is  cruciform  in  plan,  the  nave  and 
crossing  divided  into  three  square  bays 
covered  by  high  domes  with  lanterns,  alter- 
nating with  short  bays  covered  by  barrel- 
vaults.  The  square  bays  of  the  nave  open 
into  the  aisles  by  lofty  round  arches 
springing  from  a  high  attic  over  an  order 
of  Corinthian  pilasters,  coupled,  and  divid- 
ed by  a  narrow  round  arch  under  the  en- 
tablature. The  transept  is  short,  square, 
and  plain,  with  a  single  grouped  window 
in  each  end  ;  the  nave  and  aisles  terminate 
each  in  a  I'ound  apse.  The  interior  is  one 
of  the  most  beautiful  in  Venice,  and  meas- 
ures about  175  ft.  in  length  by  05  ft.  in 
breadth.  The  facade,  added  by  Sardi  in 
1603,  has  an  order  of  engaged  Corinthian 
columns  with  the  entablature  broken  for- 
ward over  the  columns  and  carrying  stat- 
ues, and  surmounted  by  a  high  attic  divid- 
ed hy  pilasters. 

S.  Stefaxo,  a  XIV  cent.  Gothic  church, 
about  80  ft.  wide  and  170  ft.  long.  It  is 
of  basilican  form,  with  nave  and  aisles 
each  ending  in  an  apse,  and  without  a 
transept.  The  nave  has  a  breadth  of  -IS 
ft.,  and  is  covered  by  a  timber  roof  con- 
cealed within  by  a  ceiling  boarded  in  a 
series  of  cusps  and  decorated  with  color. 
The  aisles  are  in  six  square  bays  set 
off  into  chapels,  each  domed.  The  main 
piers  are  slender  marble  columns  with 
rather  classic  capitals,  supporting  pointed 
arches.  The  high  choir  is  in  two  vaulted 
bays,  ending  like  the  aisles  in  a  polygonal 
apse.  The  exterior  is  all  in  brickwork  of 
admirable  execution.  The  front  has  a 
square  doorway  enclosed  by  richly  sculjit- 
ured  mouldings,  and  covered  with  a  flat 
cusped  ogee  arch  flanked  with  pinnacles 
and  ornamented  with  immensely  devel- 
oped crockets  resembling  those  of  St. 
Mark's,  and  a  statue  in  jjlace  of  a  finial. 
The  east  end  has  high  windows  with  tra- 
eeried  heads.  The  island  on  which  the 
church  is  built  being  too  small,  the  choir 


VENICE 


is  bridged  over  a  narrow  raiial  to  an  ailja- 
ceiit  island.  A  fine  square  brick  eanipa- 
nile,  much  resembling  that  of  the  Frari, 
stands  at  the  north  of  the  choir.  It  has 
two  stories  of  high  arched  panels,  a  belfry 
with  three  I'ound  arches  in  each  face,  and 
an  octagonal  stage  above.  The  church 
has  a  cloister,  added  in  about  1.530  ;  the 
church  itself  having  been  finished  in 
1325. 

S.  Z.\ccAiUA  was  begun  in  1-1.57  as  a 
Gothic  church,  and  finished  about  1500 
with  a  Renaissance  exterior.  Its  plan 
shows  a  nave  in  three  square  bays,  tlie  first 
two  covered  by  groined  vaults,  the  third 
by  a  hemisjiherical  dome,  and  ending  in  a 
polygonal  apse  ;  and  lofty  vaulted  aisles 
one-half  the  breadth  of  the  nave,  carried 
round  the  apse,  with  a  ring  of  cluq^els  out- 
side. The  nave  columns  are  high  and  slen- 
der, and  carry  round  arches  and  a  clere- 
story with  small  arched  windows.   The  wall 


F/g   244 — Venice,  S.  Zaccaria. 


of  the  choir  and  apse  is  in  two  tiers  of 
arches,,  round  below  and  pointed  above,  the 
upper  arches  being  divided  into  lights  by 
columns.  The fa9ade  was  evidently  begun 
in  accordance  with  the  Gothic  plan  ;  its 


high  basement — with  the  exception  of  the 
Ivenaissance  doorway  in  the  centre,  with 
Corintliian  pilasters  and  round  i)ediment 
surmounted  by  a  statue — shows  in  its 
panelling  of  red  and  white  marble,  and 
in  its  general  decoration,  a  distinctly 
Gothic  character.  A  second  stage  of  nar- 
row round  arches  carried  across  the  whole 
front  on  slender  pilasters,  enclosing  flat 
niches  W'ith  a  two-light  window  in  the 
end  of  each  aisle,  indicates  a  jieriod  of 
transition.  The  upper  portion  of  the 
front  is  frankly  Renaissance,  Avith  its 
centre  corresponding  to  the  nave,  carried 
above  the  sides  and  .separated  from  them 
by  detached  coupled  columns  in  three 
stages,  resting  on  square  buttress  pilasters 
below,  and  \vith  tlie  entablatures  broken 
round  them.  The  nave  and  aisles  are 
lighted  by  round-arched  windows  between 
pilasters  or  columns.  The  central  di- 
vision finishes  with  a  high  round  pedi- 
ment surmounted  and  flanked  by  statues  ; 
the  side  divisions  with  half-pediments  of 
similar  form.  The  church  contains  many 
fine  pictures,  among  which  is  one  of  John 
Bellini's  finest  works.     {See  Fig  244.) 

The  ScALZi,  the  church  of  the  Bare- 
footed Carmelites  (Carnielitani  Scalzi), 
dedicated  to  Sta.  Maria  in  Nazzareto,  is  a 
Renaissance  building  begun  1040.  under 
the  architect  Longhena,  and  finished 
about  1089.  The  interior  consists  of  a 
nave  without  aisles,  but  with  three  chap- 
els opening  from  each  side,  and  a  capeUa 
magyiure  occupying  the  place  of  the  choir 
at  the  east  end.  The  decoration  is  ex- 
travagant in  style  and  materials.  The 
facade,  attributed  to  Sardi,  is  much  more 
restrained,  although  still  very  rich.  It  is 
in  two  stages,  the  lower  consisting  of  an 
order  of  Corinthian  columns,  coupled  in 
six  pairs,  on  high  pedestals,  with  a  broad 
arched  doorway  in  the  central  interval, 
and  in  the  sides  round-arched  niches  with 
statues.  The  second  story  of  the  nave  has 
four  pairs  of  columns  instead  of  six,  fin- 
ishing with  a  triangular  pediment,  with 


5J6 


VENICE 


an    inner    podimont    of    segmental    form 
covering    the    middle    interval,    and     is 
flanked  by  scroll  buttresses  which  mask 
the  roofs  of  the  side  chapels.     The  jjedi- 
ment  is  surmounted  by  five  statues,  and 
the  whole  front  is  built  of  rich  marbles. 

ScuoLA  Di  S.  Giovanni  Evange- 
LISTA,  one  of  tlie  smaller  and  less  known 
of  the  Venetian  Sciiole.  The  buildings 
occupy  three  sides  of  a  somewhat  narrow 
court,  open  to  the  street,  and  closed  at  the 
opjjosite  end  by  a  screen  ornamented  with 
an  order  of  Corinthian  iiilasters  which 
run  round  the  sides  of  the  court,  and  of 
which  the  entablature  is  decorated  with 
bas-reliefs  of  great  richness  and  beauty. 
In  the  central  interval  is  a  broad  square 
doorway  with  carved  architrave  ;  in  the 
side  intervals  a  single  square  window  with 
pilasters  carrying  entablature  and  pedi- 
ments. The  interior  has  a  sumptuous 
staircase  hall  and  chapel  with  Corinthian 
columns  on  i^edestals,  carrying  round 
arches  with  jjanelled  and  carved  soffits, 
the  walls  inlaid  with  jJi'ecious  marbles. 
The  building  belongs  to  the  school  of  the 
Lombardi,  and  dates  from  the  second  half 
of  the  XV  century.  It  has  been  lately  re- 
stored.    {See  Fig.  '2Jf').) 

ScuoLA  DI  San  Makco,  the  home  of 
one  of  the  ijeculiar  class  of  confraternities 
existing  in  Venice  in  the  xv  and  xvi 
cents.,  of  which  the  character  was  partly 
religious  and  partly  charitable.  The  first 
building  was  burned  in  1485.  The  pres- 
ent one  was  begun  in  1490  by  Martino 
Lombardo.  It  is  one  of  the  richest  and 
most  conspicuous  of  the  Renaissance  build- 
ings of  Venice,  but  is  designed  in  an  ex- 
travagant taste,  more  decorative  than 
architectural,  and  in  defiance  of  the  rules 
by  which  the  developed  architecture  of  the 
Eenaissance  was  governed.  Its  fa5ade  is 
of  irregular  height,  with  two  stories  divid- 
ed into  bays  by  Corinthian  pilasters  with 
broken  entablatures.  All  of  the  bays  are 
surmounted  by  semicircular  gables,  of 
which  three  are  combined  into  a  principal 


group,  raised  on  an  attic  story,  and 
crowned  and  flanked  by  statues.  Of  this 
portion  the  central  bay  in  the  lower  story 


Fig,  245, — Venice,  Scuola  di   S.  Giovanni,  Interior   detail. 

is  occupied  by  a  square  doorway  with  a 
round-arched  head,  enclosed  between  de- 
tached Corinthian  columns  carrying  a 
broken  semicircular  jjediment.  The  in- 
tercolumniations  of  this  story  are  filled 
with  reliefs  in  marble  in  simulated  per- 
spective. The  intervals  of  the  second 
story  are  in  part  occupied  by  ai'ched  win- 
dows flanked  by  an  order  of  pilasters  with 
jiediment.  Those  of  the  attic  are  occu- 
pied by  statues  in  decorated  niches,  in  the 
centre  the  winged  lion  of  St.  Mark  suji- 
ported  on  five  columns,  and  above  is  a 
semicircular  pediment  higher  and  broader 
than  the  rest  and  crowned  by  the  statue 
of  St.  Mark.  The  remarkable  feature  of 
this  fayade  is  the  extreme  richness  and 
beauty  of  its  seuljjtural  decoration.  The 
pilasters,  columns,  and  archivolts  of  the 
great  doorway,  the  friezes  and  iiedimcnts 
in  all  the  stories,  and  the  members  of  the 


527 


VENICE 


windows  and  niches  arc  covered  witli  bas- 
reliefs  of  admirable  design  and  execution, 
mostly  attributable  to  Bartolommeo  Buon 
and  Tullio  Lonibardo.  'J'lic  interior  has 
(in  the   lirst,  storv  a  hall  divided  by  two 


rows  of  columns  on  high  pedestals,  and  a 
fine  double  staircase  leading  to  the  upjier 
hall  and  chapel,  with  richly  decorated 
panelled  ceilings  in  all  the  rooms.  The 
building  has  since  1815  been  made  a  por- 
tion of  the  civil  hospital  of  Venice.  {Sec 
Fi(j.2Jf6.) 

ScuoLA  Di  Sax  Rocco,  the  most  gener- 
ally known  of  the  Venetian  nctnile,  partly 
from  its  elaborate  architecture.  l)ut  more 
especially  from  the  pictures  of  Tintoretto 
which  it  contains.  It  has  three  fa9ades,  of 
which  the  principal  one,  behind  the  church 
of  the  Frari,  is  divided  into  five  bays 
by  Corinthian  pilasters  on  pedestals  carry- 
ing full  entablatures,  broken  forward  over 
the  pilasters.  Of  these  five  bays,  three  are 
princii)al.  f(H'niing  the  front  of  that  por- 
tion of  the  building  which  contains  the 
great  halls,  and  these  are  emphasized  by 
detached  Corinthian  columns  standing  in 
front  of  the  jiilasters.  Their  central  bay 
contains  on  the  lower  story  a  broad  round- 
an-licd   ddorwav  flanked  1)V  colnnnifi  with 


entablature  and  pediment  ;  the  other 
bays  contain  double  arclu'd  windows  in 
each  story,  with  entablatures  and  pedi- 
ments in  the  ujjper.  The  principal  lines 
of  the  facade  are  continued  on  the  side, 
but  the  architecture  is 
simpler  and  without  col- 
umns. The  interior  con- 
sists of  two  great  halls  one 
aljove  the  other,  connected 
by  a  noble  staircase  with  a 
domed  ceiling  and  sculpt- 
ured walls.  The  upjier 
hall  is  about  lib  ft.  long 
and  43  ft.  broad,  with  a 
height  of  over  30  ft.  The 
liuilding  was  begun  in 
I  .")  17  by  Bartolommeo 
i>uon,  continued  by  Sante 
Lonibardo,  and  finished 
in  1.5^7  by  Scarjjagnino. 

TOKKE    DEL    OroLOGIO. 

The  clock  -  tower,  built 
about  1496  by  Pietro  Loni- 
bardo, is  a  conspicuous  feature  of  the 
square  of  St.  Mark  at  the  eastern  end  of 
the  Proeuratie  Vecchie,  and  forms  the 
central  portion  of  a  building  with  a  front- 
age of  about  80  ft.  encaged  in  clumsy 
pilasters  and  ental)latnres.  The  tower, 
about  100  ft.  high,  stands  over  a  broad 
and  lofty  open  arch,  through  which  a 
street  is  carried.  Above  this,  in  succes- 
sive stories,  are  a  great  sun-dial  some  10  ft. 
in  diameter  emblazoned  with  the  signs  of 
the  zodiac  ;  then  a  tabern.acle  enclosing  a 
sitting  statue  of  the  Madonna,  and  two 
square  niches  from  which  at  certain  hours 
four  carved  figures  issue  to  do  her  rever- 
ence ;  and  in  the  upper  story  a  l)lue  field 
with  gold  stars  bears  the  winged  lion  of 
St.  Mark.  The  tower  is  crowned  by  a 
balconied  terrace  on  which  stands  the 
great  bell  with  a  figure  of  Vulcan,  so- 
called,  on  either  side,  which  is  made  to  re- 
volve and  strike  the  hours  with  a  hammer. 
The  Zecpa.  or  Mint,  is  a  Renaissance 
building    begun   in    1530    by   Sansovino, 


YEXOSA 


whose  design  was  accepted  iif  ter  a  compe- 
tition. Its  main  front  toward  tlie  sea  is 
about  S3  ft.  long,  and  is  of  three  stories, 
the  lowest  a  basement  of  nine  arches 
springing  from  phiin  piers  witli  simple 
imposts,  and  walled  up  as  high  as  the 
sj)ring  with  rustic  work,  the  arch-head 
being  filled  with  semicircular  windows. 
The  second  and  third  stories  consist  each 
of  an  order  of  engaged  columns,  Doric 
and  Ionic  resiiectively,  with  rustic  shafts, 
the  intervals  occupied  by  squai-e  windows, 
tliose  of  the  third  story  with  pedimented 
caps.  This  fu(;ade  is  without  any  door- 
way, the  entrance  to  the  building  being 
from  the  arcades  of  the  Library  adjacent. 
The  cortile,  by  Scamozzi,  is  of  similar 
urcliitecture,  the  lower  arcade  of  strong 
and  heavy  rustic  work,  the  second  story 
of  round-arched  windows  with  slightly 
projecting  Doric  pilasters  between,  on  a 
balustrade-course  ;  the  third  story  with 
Ionic  pilasters  and  entablature  with  sim- 
ple square  windows  in  the  intervals.  In 
the  middle  of  the  cortile  is  a  well  with 
flanking  rustic  columns  and  entablature, 
surmounted  by  a  statue.  Since  l.Sl'O  this 
building  has  ceased  to  be  used  for  its  orig- 
inal purpose,  and  now  serves  as  an  ex- 
change and  chamber  of  commerce. 
VEXOSA.  Italy. 

Sta.  TkixitA.  Tlie  Benedictine  abbey 
was  founded  l)y  Robert  Guiscard  near  the 
end  of  the  xi  cent.,  and  its  church  was 
consecrated  by  Pope  Nicholas  II.  in  ll.")lt, 
according  to  an  inscription  on  the  walls. 
Toward  the  end  of  the  xiiL  cent,  the 
Benedictines  resolved  to  enlarge  their 
buildings,  and  they  built  a  new  church 
directly  to  the  eastward  of  the  old  one, 
its  side  walls  continuing  those  of  the  old 
church,  and  the  apse  of  the  latter  project- 
ing into  the  new  nave.  The  two  build- 
ings form  an  interesting  contrast  in  plan 
and  design.  The  old  church  is  a  rect- 
angle about  85  ft.  wide  and  130  ft.  long, 
with  a  nave  divided  into  four  oblong  bays 
by  transverse  round  arches  springing  from 


square  piers ;  the  aisles,  whose  west  wall 
recedes  one  bay  from   the  front  of  nave, 
are  for  the  most  part  divided  into  chapels. 
The   broad    transept   is   divided    by   two 
arches   which   continue   tlie   line   of   the 
nave  arcailes,  and  its  central  division  has 
a  semicircular  apse  of  the  full  breadtii  of 
the  nave.     The  ceilings  are  everywhere  of 
wood.     The  floor  of  the  transept  is  raised 
by  several  steps  above  that  of  the  nave. 
There  is  a  closed  porch  on  the  front,  with 
a  fine  doorway,  in  which   two  compound 
jiiers  with  decorated  mouhlings  and  bases 
carry  a  lintel  of  the  same  character,  cov- 
ered by  a  i^ointed  bearing-arch   and   low- 
gable.     The  tympanum  is  filled  with  sur- 
face  tracery   of   small    horseshoe   arches, 
and    a    diaper    of    Byzantine    character. 
The  inside  sculj^ture  is  very  varied  and 
interesting.     The  church  contains  a  plain 
marble  sarcophagus,  the  tomb  of  Kobert 
Guiscard.     The  newer  church,  which  was 
never  finished  and    which   is  now   much 
overgrown,  has  a  i)lau  much  like  that  of  a 
northern  church — a  well-develojied  Latin 
cross,  nave  and  aisles  separated  by  pointed 
arclies   on   columns,   aisles  in  six  square 
groined  bays  (the  one  on  the  S.  \V.  occu- 
pied  by  the   tower   of   the   old   church), 
a   long   transept    quite    undivided,    with 
square  ends,  and  a  flat  apse  on  the  east 
wall  of  each.     From  the  centre  opens  the 
square  choir   of   the  full  breadth  of  the 
nave,    with   a    semicircular    termination, 
and  the  aisle  carried  round  it  and  divided 
into  groined   bays,   with   three    radiating 
apsidal  chapels.     Except  in  the  aisles  all 
the  ceilings  are  of  wood. 
VERCELLI,  Italy. 

S.  AxDREA  (St.  Andrew),  an  early 
Gothic  church,  interesting  from  its  wide 
departure  in  many  particulars  from  the 
usual  forms  of  Italian  Gothic  {See  Fig. 
2Jf7).  It  is  cruciform,  about  330  ft.  long, 
and  130  ft.  wide  across  the  transept.  The 
fa9ade  has  a  breadth  of  103  ft.,  with  two 
tall,  square,  and  very  slender  angle  towers, 
between  which  is  a  single  low  gable  mask- 

629 


YERCELLI 


iiig  all  the  roofs.  It  is  divided  into  three 
compartments  by  clustered  pillars  or  but- 
tresses rising  to  half  the  height  of  the 
nave  vault.  Each  compartment  has  a 
deejily  splayed  round-arched  doorway,  with 
jamb  columns  and  corresponding  arcli- 
mouldings.  The  tym]iana  are  cliarged 
witli  reliefs.  Over  the  central  doorway  is 
a  large  wheel-  window,  with  tracery  of 
interlacing  arches,  and  above  this  again 
are  two  ranges  of  arcaded  galleries  across 
the  frout.  The  side  walls  are  ])lain,  with 
well-niarkeil  buttresses,  flying  buttresses 
over  the  aisle  roofs,  and  an  ojieu  arcade 
below  the  cornice,  divided  into  groups  of 
five  arches  to  each  bay.  The  cornice  of 
the  clerestory  has  an  arched  corbel-table 
with  interlacing  arches.  The  transept 
arms  are  narrow,  and  flanked  by  angle-but- 
tresses witli  jiinnacles.  They  have  in  the 
lower   stage    two    round -arched   windows 


Fig.  247— Vercelli,  S.  Andre 
Scale  of   100  (eet. 


like  those  of  the  aisles,  above  wliich  is  a 
wheel-window  like  that  of  the  front. 
Above  this  again,  as  in  the  front,  are  two 
ranges  of  arcaded  galleries  and  a  low  gable 
with  a  ])innacle  at  the  apex.  T'he  flanks 
of  the  choir  are  treated  like  those  of  the 


nave  and  aisles.  The  east  end  is  square, 
a  rare  thing  in  Italy.  An  octagonal  lan- 
tern rises  from  the  crossing  in  two  dimin- 
ishing stages  of  l)lind  arcades  and  round- 
arched  windows,  and  terminates  in  a  low 
octagonal  si)ire  of  brickwork  with  small 
round  pinnacles.  It  is  in  the  interior 
that  this  churt'h  shows  most  clearly  the 
influence  of  the  northern  (iothic.  Its 
well-moulded  nave  arches  are  high  and 
sharply  pointed,  and  spring  from  clustered 
piers  composed  of  a  round  core  of  brick 
surrounded  by  eight  stone  shafts,  with 
large  foliated  capitals  of  remarkable  char- 
acter. Of  these  piers,  the  front  members, 
forming  a  group  of  three  shafts,  run  up 
through  the  clerestory  to  the  spring  of  the 
very  sharp-pointed  brick  vault,  of  which 
the  ribs  are  stone  and  the  crown  is  about 
G4:  ft.  above  the  pavement.  The  nave  and 
aisles  are  of  six  bays,  of  unequal  widtli, 
square  in  the  aisles  and  oblong  in  the 
nave,  as  in  the  northern  (iothic.  The 
trausejit  arms  are  square,  in  two  oblong 
bays,  from  each  of  which  opens  to  the 
eastward  a  small  apsidal  chapel.  The 
choir  is  in  two  nearly  square  bays,  its  east 
end  filled  witli  a  triplet  of  lancet  windows 
with  a  wheel-window  above,  and  having 
much  the  appearance  of  an  English  chan- 
cel. The  floor  is  raised  by  four  steps 
above  that  of  the  nave.  The  aisles  and 
clerestory  are  lighted  by  small  round- 
arched  windows.  The  vaulted  octagonal 
lantern  at  tlie  crossing  is  carried  on 
squinches,  and  surrounded  at  its  base  by 
an  ojien  gallery  of  narrow  round  arches. 
On  the  north  side  of  the  nave  is  a  clois- 
ter from  which  opens  a  square  chai)ter- 
house  with  a  vaulted  roof  carried  on  piers. 
A  detached  square  canipaiule.  standing 
obliquely  to  the  church,  is  of  later  date 
by  two  centuries  than  the  church  itself, 
which  was  begun  in  1219  by  Cardinal 
Bicchiere  and  is  said  to  have  been  finished 
within  three  years,  at  tlie  cost  of  ninety- 
five  thousand  gold  ducats,  by  an  English 
architect  brought  to  Italy  for  the  work — a 


5.;o 


VERONA 


tradition  not  unreasonable,  in  view  of  tlie  ward  l)cyond  tlio  aisles,  opens  into  them 
strongly  northern  ehanifter  of  the  interior,  through  f(nir  small  arclies  on  each  side 
The  consecration  took  ])lace  in  1224:.  It  carried  alternately  on  columns  and  square 
is  remarkable  that  some  of  the  detail,  jjar-  piers  or  pilasters.  The  walls  without  are 
ticularly  the  capitals  of  the  nave  piers  and  laid  in  alternate  bands  of  brick  and  stone, 
a  broad  band  of  sculpture  enclosing  the  and  the  apses  decorated  with  slender  i)ilas- 
tymjiani  of  the  western 
doors,  is  of  a  marked 
Byzantine  character. 
VEROXA,  Italy. 

The  Ami'hitiieatre 
is  probably  of  the  be- 
ginning of  the  III  cent- 
ury. The  outer  wall 
was  damaged  by  an 
earthquake  in  1184, 
and  a  great  part  of  its 
stones  was  used  as 
building-material,  but 
since  1228  good  care 
has  been  taken  of  the 
remains.  Only  four 
arches  of  the  original 
seventy -two  of  the 
outer  wall  are  stand- 
ing, but  most  of  the 
interior,  with  its  vomitoria  and  its  forty-  ters.  as  in  the  adjoining  cathedral,  and  ar- 
four  tiers  of  seats,  is  in  good  ijreserva-  caded  cornices.  The  building  has  been 
tion.  The  general  j^lau  is  tli'it  of  the  ascribed  to  the  xii  cent.,  but  it  is  likely 
Colosseum    at    Rome,    excej)t    that    the     that   it  is  much   older,   and  was   restored 


Fig.  248. — Verona,  Amphitheatre. 


Veronese  am2>hitheatre  is  but  three  sto- 
ries high  and  its  decorative  architecture 
is  entirely  Tuscan.  The  greater  axis 
measures  506  ft.,  the  lesser,  403  ft.  ;  the 
axes  of  the  arena  are  248  ft.  and  145  ft.  ; 
the  height  is  98  ft.,  the  area  nearly  four 


after  an  earthquake  in  1122.  at  which 
time  the  aisles  were  vaulted  and  the 
font  placed  in  the  nave — a  remarkable 
basin  of  red  marble,  9  ft,  across,  adorned 
with  reliefs  and  arched  corbel-tables. 
The  Cathedkal  (Duomo),  dedicated  to 


and  one-third  acres.     The  material  of  the  Sta.    Maria   Matricolare,   is   an  originally 

substructions  is  brick,  of  the  superstrnct-  Romanesque  church  of  the  xii  cent.,  but 

ure,  white  and  red  Verona  marble.     The  substantially  rebuilt,  as  far  as  the  interior 

arena   could    be    flooded,    probably   with  is  concerned,  in  the    xiv  century.     The 

water  from  the  Adige.  so  as  to  be  used  for  nave  and  aisles  are  in  five  vaulted  hays, 

a  uaumachy.     {Sec  Fiy.  3Jfi.)  with   clustered   piers  of   red  marble  and 

The  Baptistery,  S.  Giovanni  in  Fonte,  carved   capitals  carrying  pointed  arclies. 

is  perhaps  an  old  church  converted  to  this  The  choir  is  separated  from  the  n.tve  by  a 

use,  and,  unlike  other  Italian  baptisteries  curved  screen  of  m;irljle,  with   Ionic  col- 

in   plan,   is  a   small   basilica.     The  nave  umns  and  cornice,  the  work  of  Sanmicheli 

and  aisles  end  abreast  in  three  apses,  and  in  1534,  who  also  built  the  interior  of  the 

the  nave,  unvaulted  and  prolonged  west-  choir   and    the   line   of    chapels   on    the 

Sill 


VEROXA 


south  aisle  The  cliurch.  built  in  tlie 
first  half  of  the  ix  cent.,  was  much  al- 
tered in  the  latter  lialf  of  the  xi  and  be- 
ginning of  the  XII,  and  reconsecrated 
after  rebuilding  the  nave  in  1187.  The 
nave  was  vaulted  in  1402  ;  Saiiinicheli's 
alterations  were  made  in  1534.  The  fa- 
5ade  of  marble  shows  traces  of  most  of 
these  changes.  The  lower  part  belongs  to 
the  IX  cent,  and  still  shows  bunds  of  the 
original  sculpture.  Tlic  graceful  two- 
story  porch,  with  bold  round  arches  on 
slender  columns  supported  by  griffins,  and 
containing  fragments  of  the  older  work, 
dates  from  the  beginning  of  the  xii  cen- 
tury. So  do  the  three  tiers  of  sluxfted 
arcades  wliich  are  interrupted  by  its  up- 
I)er  story.  Fragments  of  arcaded  cornice 
show  the  low  height  of  the  original  aisles. 
and  are  broken  by  tall  two-light  pointed 
windows  which  arc  contcmj)orary  witb  the 


nave,  over  which  the  wall  is 
rclniilt  in  strijies  of  brick  and 
marble.  Above  the  broken 
ai'cadetl  cornice  which  finished 
this  facade  rises  the  higher  ga- 
ble  of  the  nave,  of  Renaissance 
detail.  The  south  side  has  a 
t\V(i-st(iry  porch  with  interest- 
ing sculjiture,  and  three  pro- 
jecting chapels,  one  square,  the 
others  semicircular,  decorated 
by  an  order  of  flat  Corinthian 
pilasters.  The  eastern  apse  is 
similarly  treated.  On  the  north 
side  is  an  ancient  cloister  orig- 
inally with  two  stories  of  ar- 
cades. The  lower  arcade  re- 
mains—  the  arches  rest  on 
coupled  columns  of  red  mar- 
ble, each  pair  being  of  a  .single 
stone.  The  Baptistery  {/j.  r.) 
stands  to  the  north  and  east  of 
the  choir,  with  which  it  is  con- 
nected.    {See  Fig.  2^9.) 

G  K  A  X  G  V  A  R  I)  I  A  (G  reat 
(iuard  -  house),  a  Renaissance 
building  of  serious  and  dig- 
nified design  built  in  1.510  under  Sau- 
micheli,  or  possibly  one  of  his  pupils. 
It  has  a  long  fa9ade  in  two  stages,  the 
lower  consisting  of  high  narrow  rustic 
arches  springing  from  heavy  piers,  the 
upper  an  order  of  coujiled  Doric  columns 
on  a  high  pedestal-course.  There  are  fif- 
teen intervals,  of  which  the  five  in  the  mid- 
dle are  filled  with  round  arches,  while  tlie 
five  on  cither  side  have  square  windows 
and  a  mezzanine  above.  The  centre  is 
carried  up  as  an  attic.  The  building  is 
now  used  as  a  warehouse. 

Palazzo  Bkvilacqua,  an  uiicomjilctcd 
XVI  cent,  jialace  from  the  designs  of  f^an- 
iiiiclicli,  of  which  the  facade  only  is  not- 
able. It  is  in  two  stages,  the  lower  of 
rustic  masonry  with  fiat  Doric  pilasters,  a 
bracketed  cornice,  and  a  series  of  round- 
arched  windows  interrupted  by  one  simi- 
lar doorway.   Above  this  the  second  story. 


VERONA 


the  piano  iinhile,  is  faced  witli  an  order  of 
rich  Corintliiaii  colunms  on  a  high  balus- 
trade, arranged  like  a  repeated  triunipluil 
arch,  with  three  great  open  urclies  alter- 
nating with  four  smaller  ones  with  pedi- 
ment caps,  and  small  square  windows 
above. 

Palazzo  del  Consiglio  (Council-hall), 
a  Eenaissance  palace  of  the  xv  cent.,  with 
a  delicately  designed  fa9ade  of  two  stories, 
the  lower  an  open  loggia  of  eight  round 
arches  on  Corinthian  columns  standing  on 
a  balustrade  raised  over  two  plinths 
above  the  sqi;are.  A  thin  entablature 
separates  this  storey  from  the  second, 
which  is  divided  by  an  order  of  scattered 
Corinthian  pilasters  into  four  intervals, 
each  containing  a  two-light  window  with 
round-arched  openings  separated  by  Co- 
rinthian columns  and  enclosed  lietween 
Corinthian  pilasters  bearing  an 
entablature  and  round  pedi- 
ment. The  whole  front  is  ex- 
tremely rich  in  ornament,  the 
wall  spaces  covered  with  a 
painted  decoration,  the  pilasters 
with  arabesques  in  relief ;  and 
above  the  cornice  are  statues  of 
Latin  writers  claimed  as  citizens 
of  Verona.  The  building  is  said 
to  be  the  work  of  Fra  Giocondo. 
(See  Fi(j.  250.) 

Palazzo  dell  a  Raiuone 
and  palace  of  the  Scaligers  are 
an  irregular  jiile  of  buildings 
dating  from  the  xiii  or  xiv 
cent.,  surrounding  the  Jlercato 
Vecchio,  and  adjoining  sides  of 
the  Piazza  dei  Signori.  The  ar- 
chitecture is  various — the  most 
characteristic  jiortions  consist- 
ed of  an  arcaded  lower  story 
with  very  large  ojoen  round 
arches  carried  on  slight  columns, 
and  supporting  a  second  story — 
likewise  with  an  open  arcade  but 
of  smaller  pointed  arches,  with  a 
balustrade  between  and  reached 


by  a  picturesque  open  arcaded  staircase  in 
an  angle  of  the  court.  Out  of  the  roofs  of 
these  buildings  rises  a  noble  bell-tower, 
one  of  the  finest  in  Italy,  nearly  300  ft. 
high,  its  lower  portion  built  with  alter- 
nate courses  of  brick  and  marble,  and  con- 
tinuing for  the  remainder  of  its  height 
with  simple  brickwork,  almost  unbroken, 
until  the  belfry  stage  is  reached.  Here  is 
a  trijile-arched  opening  in  each  face  with 
round  arches  on  coupled  columns,  with 
pointed  bearing-arch  of  black  and  white 
voussoirs.  Above  is  a  thin  projecting 
cornice  on  brackets,  and  a  final  octagonal 
stage  with  two  stories  of  openings,  the 
ujjper  story  having  a  two-light  arched 
window  in  each  face  with  pointed  bearing- 
arch.  This  tower  is  said  to  have  been 
built  toward  the  end  of  the  xii  cent.,  by 
the  Lamberti  familv.     Tt  came  later  into 


"^p  iir  mill 


MMiniuillj     IIIIIUHHIIini    i 


Fig.  250.- Verona    Palaizo  del  Consiglio. 


633 


VERONA 


possession  of  the  Commune,  and   in  1370 
was  brought  to  its  jaresent  form. 

Roman  Akcii,  which  now  spans  one 
of  the  chief  streets  of  tlie  city,  and 
called  tlie  Porta  dei  Borsari.  It  is  a 
double  archway  ornamented  in  the  upper 
stories  with  little  columns,  entablatures, 
and  pediments,  and  is  rather  poor  in  de- 
sign. It  was  built  or  restored  by  the  em- 
peror (iallienus,  265  a.d.  Only  one  face 
now  ajipears. 

Roman  Gateway,  a  douljle  arch  now 
known  as  the  Arco  dei  Leoni.  It  is  of 
light  and  elegant  proportions,  though  a 
part  has  been  destroyed.  Its  highest 
story  was  ornamented  with  small  detached 
columns  with  twisted  fluting.  The  archi- 
trave above  the  surviving  arch,  which  is 
flanked  by  Corinthian  columns,  bears  an 
inscription.  This  monument  is  nearly 
contemporaneous  with  the  Porta  dei  Bor- 
sari. 

Sta.  Anastasia,  a  Gothic  Dominican 
church  of  the  xiir  cent.,  about  300  ft. 
long  and  7.5  ft.  broad,  with  nave  and 
aisles  of  six  bays,  those  of  the  nave  nearly 
square,  those  of  aisles  oblong,  transept 
and  choir  of  a  single  square  bay,  termi- 
nating in  a  decagonal  apse.  From  eaeli 
transept  arm  two  chapels  open  on  the 
east  side,  each  with  a  small  polygonal 
apse  of  four  sides ;  from  the  north  arm 
opens  a  sacristy  in  two  vaulted  compart- 
ments, of  which  the  easterly  one  ter- 
minates in  an  apsidal  chapel.  The  nave 
piers  are  round  and  carry  obtusely  pointed 
brick  arches  with  i)lain  unnu)ulded  edges. 
Flat  pilasters  rise  from  the  capitals 
through  the  clerestory  to  take  the  vault- 
ing ribs  of  the  nave.  The  whole  church 
is  groined.  The  clerestory  is  pierced  with 
small  round  windows  with  plate  tracery. 
The  walls  and  vaults  are  })ainteil  and 
adorned  with  patterns  of  flowers  and 
foliage  on  a  white  ground.  The  pavement 
is  of  white,  red,  and  gray  marbles  in  geo- 
metrical patterns.  The  exterior  is  of  red 
brick    roughly    laid,  with  brick    cornices. 


pinnacles,  etc.  The  unfinished  front  has 
a  fine  doorway  of  parti-colored  marbles, 
with  a  fresco  in  the  head  of  the  arch. 
The  aisle  windows  are  pointed,  of  two 
lights,  with  trefoil  and  pointed  bearing- 
arch.  In  the  angle  of  choir  and  north 
transept  is  a  square  brick  campanile  with 
octagonal  spire.  The  church  was  begun 
in  1200,  but  was  not  finished  until  1J:22. 
Balanced  on  the  wall  of  the  cemetery  ad- 
joining the  faQade  is  the  tomb  of  Castel- 
barco,  called  by  Mr.  Ruskin  the  most  per- 
fect Gothic  sepulchral  monument  in  the 
world,  a  square  four-gabled  canopy  of  four 
pointed  arches  on  graceful  columns,  cover- 
ing a  sarcophagus  carved  with  a  recum- 
bent figure,  and  surmounted  by  a  clumsy 
pyramid. 

S.  Fermo  Maggiore,  a  Gothic  church 
without  aisles,  with  a  nave  some  50  ft. 
wide  and  of  equal  height,  from  the  east 
end  of  which  three  broad  arches  open  into 
a  chancel  flanked  by  two  aisles,  and  end- 
ing in  a  polygonal  apse.  The  nave  has  a 
wooden  ceiling,  cusped  and  boarded,  di- 
vided into  panels  and  decorated  in  color. 
The  transept  is  of  small  projection  and 
without  marked  features.  A  remarkable 
crypt  of  unusual  height  extends  under  the 
eastern  portion  of  the  church,  with  square 
piers  supporting  a  groined  vaulting  of 
brick.  The  crypt  was  formerly  painted 
throughout,  and  traces  of  this  decoration 
are  still  to  be  seen  on  walls  and  roof,  and 
even  on  tlie  piers,  the  larger  of  which  bears 
a  figure  on  each  face.  A  marble  pulpit  is 
corbelled  out  from  the  soutli  wall  of  the 
nave  with  sculptured  canojiy  over  it,  and 
surrounded  by  wall  paintings.  The  fa- 
9ade  is  in  two  principal  stages ;  the  first  of 
marble  with  a  large  round-arched  doorway 
in  the  centre  with  deeply  moulded  jambs, 
and  approached  by  a  flight  of  some  sixteen 
stejis.  On  either  side  are  two  stories  of 
blind  arcades  cusped  and  pointed,  the  low- 
er continued  rtumd  the  north  side  of  the 
church,  the  upper  on  engaged  and  coup- 
led shafts,  including  a  i)air  of  windows. 


684 


VERONA 


Flanking  the  doorway  on  either  side  is  an 
arched  and  gabled  canopy,  that  on  the 
north  snpported  on  shafts,  and  covering  a 
sarcophagus  resting  on  corbels  and  bear- 
ing a  recumbent  figure.  The  npper  por- 
tion of  the  front  is  of  alternate  bauds  of 
brick  and  marble,  with  a  group  of  four 
tall  cusped  and  labelled  lancets  in  the  cen- 
tre, above  which  is  a  three-light  window 
covered  by  a  pointed  bearing-arch,  and 
flanked  by  small  round  wiudows.  The 
angles  of  this  fine  front  are  marked  bv 


the  angles.  Of  the  original  church  the 
crypt  still  remaining  is  believed  to  date 
from  T.J.J.  'J'iie  present  church  belongs  to 
the  earlv  years  of  the  xiv  centurv.  (6'ee 
Fl,j.  251.) 

S.  LoKEXzo,  one  of  the  oldest  churches 
in  the  city,  is  a  three-aisled  round-arched 
church,  with  round  apses  at  the  end  of 
nave  and  aisles,  and  may  date  from  the  ix 
or  X  century.  It  has  the  Lombard  pecul- 
iarity of  double  bays,  with  alternate  piers 
and  columns.    The  two-storied  aisles  have 


tall  square  buttresses,  undivided  through 
their  entire  height,  and  terminating  in 
grouped  pinnacles.  A  single  rather  low 
gable  covers  the  whole,  with  a  rich  cor- 
nice and  arched  corbel-table  and  a  pinna- 
cle at  the  apex.  The  side-walls  are  of 
brick  witli  a  deep  rich  cornice  and  a  pan- 
elled parapet  above,  and  broad  pointed 
windows  high  in  the  wall.  On  the  north 
side  is  a  fine  projecting  jjorch,  with  broad 
pointed  arches  supported  on  columns. 
The  apse  has  gables  over  each  face  with 
pinnacles  between,  and  a  round  cusped 
window  in  each  gable.  A  tall  brick  cam- 
panile stands  on  the  north  side  of  the 
choir,  with  a  round  spire  and  pinnacles  at 


groined  vaulting  in  both  stories,  and  the 
nave  a  continuous  barrel-vault,  presum- 
ably late.  Against  the  last  eastward  bay 
but  one  the  aisles  are  doubled,  making  a 
qnasi-transept,  which  however  does  not  ap- 
pear in  the  nave.  A  cross  gallery  at  the 
west  end,  added,  it  would  seem,  after  the 
first  building,  connects  the  upjjcr  aisles. 
The  exterior  is  of  primitive  character, 
banded  in  brick  and  stone,  and  the  front, 
although  altered,  retains  its  original  pe- 
culiarity of  two  round  flanking  towers  be- 
tween which  is  a  low  gable,  pierced  with  a 
round  window  over  three  arched  wiudows, 
and  a  square-headed  doorway  below.  The 
columns  of  the  interior  are  apparently  an- 


535 


VEROXA 


tiqiie,  but  have  mostly  later  capitals  and 
bases.  The  arched  \viiuli)\vs  are  single  in 
the  clerestory  and  altered  in  the  aisles. 

S.  Stekaxo  (St.  8tei)lien),  believed  to 
be  the  oldest  chiircli  in  Verona,  and  to  have 
been  built  as  a  Christian  basilica,  in  5:^-1, 
but  nuu'h  rebuilt  in  later  times.  Jt  has  a 
narrow  nave  with  side  aisles,  separated  by 
four  sipuirc  piers  on  each  side,  carrying 
round  arches,  n])per  walls  nnpierced  by 
windows,  and  a  wooden  ceiling.  There  is 
a  proper  trausejjt,  yet  the  easternmost 
bay  of  the  aisles  is  separated  by  an  arch 
from  the  rest,  answering  to  a  transcj)t.  and 
over  the  crossing  is  a  dark  dome  covered 
by  a  low  octagonal  tower.  The  choir,  con- 
sisting of  the  two  eastern  bays  of  the  nave, 
is  raised  by  fourteen  steps  above  a  crj'pt, 
and  terminates  in  a  semicircular  apse, 
round  which  a  narrow  vaulted  aisle  is  car- 
ried, with  four  piers  sejiai'ating  it  from 
the  choir.  The  crypt,  probably  original, 
is  singularly  arranged  in  transverse  aisles 
across  the  whole  church,  and  is  divided 
into  groined  bays  by  eight  rude  columns 
about  7  ft.  high.  The  facade,  of  brick 
and  marl  lie,  has  a  central  doorway  with 
two  buttresses  at  each  side  and  two  niund- 
arclied  windows. 

S.  Zexo  Maggiore,  one  of  the  noblest 
examples  of  Lombard  architecture,  is  a 
great  basilica,  with  broad  luive  aiul  aisles, 
but  no  transept  ;  the  nave  prolonged  by  a 
choir  of  a  single  square  bay,  ending  in  a 
half-decagon  apse.  The  nave  is  in  five 
s(|uare  bays  with  massive  grouped  piers, 
from  the  capitals  of  which  engaged  shafts 
rise  through  the  high  clerestory  to  the 
roof.  Of  the.se  shafts  the  pair  nearest 
the  west  end  of  the  church  is  connected  by 
an  arch  thrown  across  the  nave,  the  others 
disaj)pear  in  the  woodwoi'k  of  the  ceiling, 
which  is  arched  and  boarded,  its  section 
being  a  cusjied  round  arcli,  and  its  sur- 
face 2«iintc<l.  1'he  aisles  also  are  ceiled 
with  wood  in  the  form  of  a  simple  lean-to, 
not  painted.  The  bays  of  the  nave  are 
subdivided  each  bv  two  round  arches  car- 


ried by  a  single  marble  shaft  with  curious- 
ly scul})tured  capital.  Above  these  arches 
the  clerestory  wall  is  of  unusual  height,  in 
alternate  courses  of  bric!k  and  marble,  and 
with  a  single  tall  window  in  each  bay. 
The  ritual  choir  is  extended  into  the  two 
eastern  bays  of  the  nave,  from  which  the 
choir  proper,  of  later  construction,  consist- 
ing of  a  single  square  groined  bay  with  its 
apse,  is  separated  by  a  high  pointed  arch. 
The  floor  of  the  choir  is  raised  some  8  ft. 
above  the  nave,  its  front  being  protected 
by  a  balustrade  of  colonnettes  with  statues 
on  the  jiedestals,  beneath  which  are  three 
great  round  arches  occupying  the  whole 
breadth  of  the  nave,  separated  by  coupled 
marble  columns,  and  giving  access  by 
broad  descending  stairs  to  a  spacious  and 
lofty  crypt.  In  each  aisle  are  two  similar 
arches,  while  staircases  on  each  aisle  wall 
ascend  to  the  floor  of  the  choir.  The 
cryj)t  is  divided  into  aisles  Ijy  rows  of  red 
marl)le  columns  carrying  groined  arches, 
and  in  the  centre  is  the  shrine  of  the  saint. 
The  interior  walls  of  the  church,  and  even 
its  piers  and  columns,  were  extensively 
painted  with  figure  subjects,  of  which 
traces  yet  remain,  particularly  in  the  apse 
and  eastern  portion  of  the  choir,  where 
the  decoration  was  most  elaborate,  and 
has  been  carefully  renewed.  On  the  north 
side  of  the  choir  is  a  fine  cloister,  with 
arcades  of  pointed  arches  on  two  sides  and 
of  round  arches  on  the  other  two.  the 
arches  and  the  wall  above  of  simple  brick- 
work, supported  on  slender  coupled  red 
marble  columns,  with  capitals  and  bases 
of  white  marble  and  standing  on  a  low 
wall  of  stone.  The  exterior  is  of  red  brick 
with  frequent  courses  of  stone,  except  the 
front,  which  is  of  stone  and  marble.  The 
side  walls  are  divided  into  bays  by  ti'i- 
angular  buttresses,  both  on  the  aisles  and 
clerestory,  the  upper  portion  finishing  with 
an  arched  corbel-table.  The  facade  is 
in  three  divisions  corresponding  to  the  in- 
terior disposition.  The  central  division 
has  a  broad  doorway,  under  a  sligtitly  pro- 


5.% 


VERONA 


jecting  porch,  with  rude  sculpture,  cou- 
sistiug  of  ;i  rouiul  iiruh  sjiringing  from  t;ill 
colunms  resting  on  lions.  In  tiie  oeutre 
of  tiio  wall  above  is  a  large  wheel-window, 
evidently  a  later  insertion.  Au  arcade  of 
small  coupled  round  arches  divided  by 
slender  coupled  columns  runs  across  the 
front  at  the  height  of  tlie  arcli  of  the 
porch.  The  whole  wall  is  panelled  by 
pilaster  -  strips  which  terminate  in  an 
arched  corbel-table  following  the  rake  of 


briclv  and  wliitc  marble.  Tliere  arc  two 
ranges  ol'  triple  arcades  in  tlie  Ijelfry  stage, 
surmounted  by  a  round  briclv  spire  be- 
tween four  pinnacles.  The  original  church 
was  built  in  the  ix  cent.,  by  Eotaldus, 
bisliop  of  Verona,  with  tlie  authority  of 
Pipin,  tlie  son  of  Charlemagne,  deputed  by 
that  monarch  to  govern  his  Italian  prov- 
ince. Portions  of  the  early  church  re- 
main. The  western  bay,  wliicli  has  triple 
arches  between  the  piers  iiisteatl  of  double, 


Fig.  252.— Verona,  S  Zeno. 


the  cornice.  In  the  central  division  these 
panels  are  divided  by  horizontal  corbel- 
tables  above  and  below  tlie  wheel-window, 
and  tlie  lowest  range  of  jiauels,  on  each 
side  of  the  porch,  is  filled  with  archaic 
sculpture.  The  doors  are  believed  to  be 
as  early  as  the  ix  cent.,  and  are  admirable 
examples  of  the  art  of  that  period.  The 
wooden  frame  is  covered  with  thin  plates 
of  bronze,  with  reliefs  representing  a  great 
variety  of  subjects,  mostly  scriptural.  The 
fine  detached  bell-tower  on  the  south  side 
of  the  church  has  four  stages  of  plain 
wall  divided  by  corbel-tables  and  pilas- 
ters, the  wall  being  in  alternate  courses  of 


and  is  cut  oU  from  the  rest  of  the  nave  by 
a  cross-arch,  may  be  a  part  of  it,  but  it 
was  enlarged  and  practically  rebuilt  in  the 
XII  century.  The  choir  is  later,  dating 
from  1421  to  1430.  The  whole  church 
lias  of  late  been  carefully  restored.  (See 
Fig.  252.) 

Tombs  of  the  Scaligers,  a  remark- 
able group  of  monumental  tombs  in  the 
small  cemetery  in  front  of  the  little  church 
of  Sta.  Maria  Antica.  dating  from  1329  to 
1375,  and  commemorating  various  mem- 
bers of  the  family  which  ruled  Verona  in 
the  xiii  and  xiv  centuries.  The  earliest 
is   the    tomb  of  Can  Grande  I.,  which  is 


VETEALLA 


built  ovei'  the  doorway  of  the  church.  A 
shxb  of  marble  supported  on  corbels  ou 
either  side  the  doorway  carries  a  sarcojiha- 
gus  resting  on  the  figures  of  mastiffs,  or- 
namented with  bas-reliefs,,  and  bearing  the 
recumbent  figure  of  the  duke.  Covering 
it  is  a  canopy  of  pointed,  cusped,  and  ga- 
bled arches,  supported  on  shafts  of  mar- 
ble, and  crowned  by  a  truncated  pyramid, 
ou  which  stands  the  equestrian  statue  of 
Can  Grande.  The  monument  of  Mastino 
II.,  at  the  angle  of  the  cemetery,  consists 
of  a  square  raised  basement  upon  which 
stands  an  arched  canopy  on  four  columns. 
At  the  angles  are  little  arched  canopies  on 
shafts,  like  the  monument  in  miniature, 
containing  figures  of  saints.  Above  the  ga- 
bles rises  a  crocketed  pyramidal  roof,  sup- 
porting the  figure  of  the  duke  ou  horse- 
back. Under  the  canopy  is  the  sculptured 
sarcophagus  bearing  the  recumbent  figure 
of  Mastino.  The  monument  of  Can  Sig- 
norio,  the  largest  and  most  ambitious  of 
all  the  group,  stands  within  a  hexagonal 
enclosure  formed  by  a  panelled  marble 
fence  some  5  ft.  high,  at  the  angles  of 
which  are  panelled  piers  beariug  tall 
shrines,  each  with  four  shafts  supporting 
an  arched  and  gabled  canopy  with  pyram- 
idal spire,  and  enclosing  the  figure  of  a 
saint.  These  piers  are  connected  by  a 
wrought-irou  fence.  The  monument  it- 
self is  hexagonal,  and  in  two  stages  ;  the 
first  of  clumsy  Corinthian  angle-columns 
supporting  the  platform  on  which  rests  the 
sarc;ophagus,  elaborately  decorated  with 
bas-reliefs  in  panels,  and  bearing  the  re- 
cumbent figure  of  the  duke.  The  second 
stage  has  heavy  angle-shafts  bearing  point- 
ed and  cusped  arches,  with  a  horizontal 
cornice  above.  Over  this  rises  a  truncated 
spire,  surrounded  by  gables  covering  niches 
and  statues,  with  pinnacles  at  the  angles. 
The  sjjire  carries  a  heavy  hexagonal  pedes- 
tal on  which  stands  the  equestrian  statue 
of  Can  Signorio.  The  structure,  of  great 
height  and  lavishly  decorated,  shows  a 
marked  decline  from  the  older  and  simpler 


monuments  of  the  grouji.  The  cemetery 
is  enclosed  ou  its  two  exjjosed  sides  by  a 
beautiful  wrought-iron  fence  on  a  panelled 
stone  basement,  with  square  stone  piers  at 
intervals  bearing  figures  of  saints. 
VETRALLA,  Italy. 

S.  Francesco  is  a  simple  basilica  with 
one  apse,  consisting  of  six  bays  and  a 
sanctuary  that  does  not  project.  The  ex- 
terior is  plain  and  has  but  one  doorway, 
the  round-headed  windows  are  small  ;  the 
style  is  that  of  the  xi  century.  The 
transept  and  ajise  seem  older  than  the 
nave,  which  is  very  lofty  and  is  separated 
from  the  aisles  by  high  slender  columns 
with  large  foliated  capitals,  similar,  on  a 
smaller  scale,  to  those  in  the  cathedral  of 
Viterbo..  [A.  L.  F.,  Jr.] 
VICENZA,  Italy. 

The  Basilica,  called  Palazzo  della  Ra- 
gione  (or  Town-hall),  a  singular  instance 
of  a  Gothic  public  building  which  has  been 
externally  transformed  to  suit  the  Renais- 
sance taste  of  a  later  age.  It  resembled  the 
great  hall  at  Padua,  though  smaller,  being 
about  To  ft.  wide  by  165  ft.  long,  with  a 
lower  story  partially  open  to  the  street. 
Two  lines  of  piers  and  arches  divide  the 
interior  and  support  the  floor  of  the  hall, 
which  is  in  the  second  story,  with  rather 
low  walls  pierced  by  broad  joointed  win- 
dows with  moulded  jambs,  and  the  upjier 
portion  of  the  wall  faced  on  the  outside 
with  a  diaper  of  parti-colored  marbles, 
similar  though  inferior  in  design  to  that  of 
the  Ducal  Palace  at  Venice.  The  hall  is 
approached  by  an  exterior  staircase  with 
balustrade  of  marble.  The  building  is 
thought  to  have  been  completed  in  this 
form  before  the  year  1-494.  But  it  was 
soon  considered  to  be  in  a  dangerous  con- 
dition, and  various  jjrojects  for  its  recon- 
struction were  entertained.  In  1540,  Pal- 
ladio  aiul  Giulio  Romano  were  employed 
to  submit  models  in  competition.  The 
former  was  successful,  and  by  him  the 
building  was  enclosed  with  two  ranges  of 
stately    arcades,    concealing    nearly    the 


63S 


VICENZA 


wliolo  of  the  original  walls,  which  aro 
among  the  most  heautiful  works  of  Re- 
naissance architocture.  They  are  com- 
posed   with  two   complete  orders  of  col- 


umns, Doric  in  the  first  story  and  Ionic 
in  the  second,  with  balustrades,  the  jjedes- 
tals  of  the  ujiper  balustrades  bearing 
statues.  Each  broad  iutercolumniation  in 
both  stories  is  filled  in  with  what  has  been 
called  the  Palladian  motive — an  arch  rest- 
ing on  smaller  columns  with  a  square 
opening  on  each  side.  The  whole  effect 
is  extremely  rich  and  festive.  The  in- 
terior of  the  great  hall  retains  its  ancient 
wooden  roof  of  high  pointed  timber  arches 
painted  black  and  white,  dividing  the 
carved  surface  into  vertical  panels.  Like 
that  of  Padua,  of  which  this  was  doubtless 
a  cojiy,  the  roof,  instead  of  being  enclosed 
by  gables  at  either  end.  is  hijiped  from 
the  four  corners.     (See  Fig.  253.) 

The  Cathedral  (Duomo)  is  men- 
tioned in  the  xi  cent.,  but  was  enlarged 
in  1203-83  into  a  Gothic  church  with  a 


broad  nave  in  four  square  bays.     Beyond, 
the  eastern  bay  is  covered  by  a  polygonal 
dome,  and  intermediate  jjiers  divide  the 
aisles  into  square  chajjels,  two  of  whicli 
corresjrond   to   one   bay   of    the    nave. 
U'he   choir,    raised    over   a   high  crypt 
and  approached    by  a  broad    flight  of 
steps  in  the  centre,  with  stairs  descend- 
ing on  either  hand  to  the  crypt,  fills 
the  domed  bay.     There  is  no  traiisejit. 
The  exterior  is  of  brick.     The  front  is 
covered  by  a  single  broad  gable,  and 
has  in  the  lower  portion  a  blind  arcade 
(if  stone  with  a   central  doorway  and 
pointed  windows — and  a  rose  above. 

Palazzo  Baubakano,  a  Renaissance 
])alace  built  in  1570  from  the  designs  of 
T'alladio,  with  a  stately  facade  of  two 
stories  of  square -headed  windows  and 
an  attic.     The  lower  story,  rusticated, 
has  an  order  of  Ionic  half-columns  with 
seven   intervals,   the  central  one  filled 
by  an  arched  entrance.     The  second  or 
ju'inciiial  story  has  an  order  of  three- 
ijuarter  Corinthian  columns  ;  its  win- 
dows have  balconies  and  pediment  caps 
alternately   triangular    and    segmental, 
with    reclining    figures,    and    arc   bor- 
dered with  sculjjtured  flowers  and  fruits 
in  high  relief.     The  friezes  of  both  orders 
are  decorated  with  sculpture,  and  the  front 
shows  a  singular  reversal  of  the  ordinary 
proportion,  in  that  the  uj^per  or  Corinth- 
ian order  is  considerably  shorter  than  the 
Ionic  below.     The  attic  has  jilain  square 
windows  with  pedestals  between,  support- 
ing a  line  of  statues. 

Palazzo  Chieregati,  now  the  Museo 
Civico,  a  Renaissance  palace  built  by  Pal- 
ladio  in  1.5GC.  It  has  a  long  facade  of 
two  orders,  Doric  below,  Ionic  above,  and 
with  a  somewhat  singular  disposition. 
The  centre,  including  five  intervals,  pro- 
jects slightly  and  is  marked  b\'  coupled 
columns  at  the  extremities.  In  the  lower 
story  an  open  loggia  runs  the  whole  length 
of  the  front,  slightly  raised  above  the 
ground  ;  in  the  upper  the  wall  of  the  cen- 


539 


VICEXZA 


tre  only  is  brought  forward  over  the  col- 
umns below  and  faced  with  three-quarter 
columns,  enclosing  high  windows  with 
lialconies  and  pediment  caps  alternately 
ti-iangular  and  segmental,  above  wiiicli, 
under  the  entablature,  are  the  small  square 
windows  of  a  mezzanine.  Contrary  to 
Palladio's  habit,  there  is  no  attic.  The 
palace  is  now  used  as  the  museum  of  the 
town. 

Palazzo  df.li.a  Kagioxe.  See  Basil- 
ica. 

Palazzo  Tiexe,  an  ambitious  Renais- 
sance palace  of  rustic  work  in  stucco,  built 
from  Palladio's  designs  in  1.5GG.  It  has  a 
long  facade  of  two  stories  of  square-headed 
windows  and  an  attic,  with  slightly  pro- 
jecting pavilions  at  the  angles.  The  base- 
ment windows  are  covered  with  liliiid 
arches ;  the  second  or  principal  story  is 
faced  with  an  order  of  Composite  pilasters 
on  a  balustrade  course,  the  windows  deco- 
rated with  Ionic  columns  whose  outline  is 


Fig.  254. — Vicenza,  Teatro  Otimpico, 

almost  concealed  by  heavy  rustic  blocks 
witj)  jiedinicnts.  A  decorated  band  joins 
the  capitals  of  the  pilasters,  which  support 
a  thin  entablature.  The  low  attic  is 
broken  by  pedestals  supjiorting  a  lino  of 
statues.  The  court  is  a  fine  composition 
with  two  stories  of  open  arcades,  the  first 
very  plain,  of  rustic  masonry,  with  rough 


piers  ;  the  second,  elegant,  with  an  order 
of  Corinthian  pilasters,  the  intervals  filled 
with  plain  round  arches  with  a  delicately 
moulded  archivolt  and  a  rather  thin  balus- 
trade. 

Palazzo  Valmaraxa,  a  Kenaissance 
palace  built  by  Palladio  in  1.506.  Its  fa- 
cade has  some  striking  peculiarities  of  de- 
sign. It  is  in  two  stories  of  square-headed 
windows,  the  lower  story  having  a  full 
order  of  pilasters  with  a  balustrade  crossing 
the  windows  above,  and  a  high  arched 
door  in  the  middle.  This  front  is  encaged 
in  a  single  order  of  great  Corinthian  pi- 
lasters running  up  through  both  stories, 
their  entablature  furnishing  the  main  cor- 
nice, with  an  attic  over  it.  The  basement 
is  broken  to  form  a  pedestal  for  each  of 
these  pilasters,  and  the  attic  above  them 
also  to  carry  statues  ;  but  they  are  strange- 
ly omitted  at  the  corners. 

S.  LOREXZO,  a  large  brick  chnrch,  orig- 
inally Romanesque,  remodelled  in  Gothic 
form  about  1280,  w'ith  nave  and 
aisles,  large  transept  and  choir. 
The  nave  arches  are  carried  on 
round  columns  with  coarsely 
carved  capitals,  and  above  is  a 
clerestory  with  small  round  win- 
dows. The  ceilings  are  groined. 
The  church  contains  the  tomb  of 
Scamozzi,  with  his  bust.  The  ex- 
terior is  of  brick  with  the  excep- 
tion of  the  lower  portion  of  the 
front,  consisting  of  a  blind  arcade 
of  seven  high  pointed  arches,  of 
which  the  three  central  ones  are 
occupied  by  a  ])oiuted  doorway, 
flanked  on  either  side  by  canopied 
tombs  of  the  xiv  century.  This 
story  finishes  with  a  corliel-table.  above 
which  the  wall  is  of  brick,  covered  by 
a  single  low  gable  with  a  great  rose-win- 
dow in  the  centre,  and  five  smaller  round 
windows  following  the  rake  of  the  cor- 
nice. The  side  elevations  seem  to  show 
a  northern  influence,  the  aisle  walls  being 
divided    into    bays   each    with   a   jiair    of 


S4U 


VICEXZA 


simplelancct  windows  witli  trofoilod  licads. 
and  a  small  round  window  al)ove.  A  tall 
square  brick  campauilo  stands  east  of  the 
north  transept. 

La  RoTOXDA.     See  ViUn  Capru. 

Teatro  Olimpico.  This  famous  tlie- 
atrc.  hnilt  in  l.")S-l:  from  the  designs  of  Pal- 


Fig.  255.— Vicenza,  Teatro  Olimpico, 

ladio.  was  an  attempt  to  reproduce  the 
classic  theatre  of  Greece  aud  Rome.  It 
consists  of  an  auditorium  under  an  awn- 
ing, in  the  form  of  a  semi-ellipse,  its  longer 
diameter  being  about  97  ft.,  aud  its  depth 
from  the  stage  about  57  ft.  There  are 
fourteen  ranges  of  seats  for  the  spectators, 
following  the  curve  of  the  ellipse,  and 
above  these  the  auditorium  is  encircled 
by  a  screen  decorated 
with  an  order  of  Corin- 
thian columns,  a  por- 
tion of  the  intervals 
ojDening  from  the  the- 
atre, the  remainder 
filled  with  niches  en- 
closing statues.  The 
scene,  about  60  ft. 
broad,  is  an  architect- 
ural composition  of 
two  orders  of  engaged 
Corinthian  columns  on 
balustrade  -courses, 
surmounted  by  a  high 
attic   with   bas-reliefs. 


In  the  lower  order  the  middle  inter- 
val has  a  high  open  arch,  and  two  oth- 
ers on  the  side  have  square  openings, 
through  which  arc  seen  streets  and  squares 
of  stately  architecture  constructed  in 
sharp  perspective,  ending  each  in  a  trium- 
phal arch,  which  at  a  distance  of  40  ft. 
from  the  spectator  looks  400  ft.  distant. 
The  theatre  is  to  be  regarded  rather  as  a 
skilful  and  ingenious  conceit  than  as  a 
building  of  practical  utility,  and  has  been 
long  disused.     {See  Figs.  254  >  255.) 

Villa  Capra,  called  La  Rotonda,  one 
of  the  most  famous  of  Palladio's  minor 
buildings,  a  country-house  in  the  suburbs 
of  the  town.  Its  plan  is  a  square  of  about 
70  ft.  with  a  projecting  portico  on  each 
side,  consisting  of  six  Ionic  columns  about 
22  ft.  high,  with  entablature  aud  pedi- 
ment. The  building  stands  on  a  high 
basement,  and  the  porticoes  are  I'eached 
by  broad  ilights  of  steps.  There  is  but  a 
single  story,  surmounted  by  a  low  attic. 
The  interior  has  a  central  I'otunda  about 
30  ft.  in  diameter,  occupying  the  whole 
height  of  the  building,  encircled  by  a 
balcony  at  the  level  of  the  ceiling  of  the 
principal  rooms,  and  terminating  in  a 
hemispherical  dome  Avithout  windows. 
The  building  is  planned  aud  designed 
with  exclusive  reference  to  exterior  sym- 
metry, and  has  been  extensively  c'o^jiod  in 


-V  :.:;'-;a.  Villa  Capra 


YITERBO 


the  country-houses  of  England  and  other 
countries.     {See  Fig.  256.) 
VITERBO,  Italy. 

The  Cathedral  is  a  Romanesque  basil- 
ica dating  from  about  1100.  Ten  pairs 
of  marble  columns,  their  capitals  richly 
carved  with  liuman  figures  and  monsters 
in  Lombard  style,  divide  the  nave  and 
aisles,  and  carry  a  corbelled  string-course 
above  tlie  arches.  It  was  restored,  round- 
vaulted,  and  increased  with  chapels,  in  the 
XVII  cent.;  and  has  a  handsome  bell-tower 
of  the  XIII  cent.,  banded  in  black  and 
white  marble,  with  traceried  windows. 
The  fine  tesseUated  floor,  in  oiJits  Alexan- 
driiium,  is  part  of  the  original  basilica. 
The  modern  facade,  witli  pilasters  and 
scroll-buttresses,  is  delicately  treated. 

S.  GiovAXKi  IN  ZoccoLi  is  a  remark- 
ably good  instance  of  the  late  Romanesque 
style  of  the  northern  f)art  of  the  Roman 
province,  when  influenced  both  by  Tuscany 
and  Lombardy,  producing  a  result  more 
harmonious  and  beautiful  than  the  Lom- 
bard, more  simple  and  broad  than  the 
Tuscan.  It  is  a  simple  three-aisled  basil- 
ica without  transept.  The  length  of  the 
church  is  90  ft.  and  its  width  nearly  50 
ft.  Its  interior  consists  of  five  bays,  the 
last  being  a  raised  choir  supported  by 
slender  piers.  The  rest  of  the  supports 
are  very  delicate  columns  built  ujj  of  local 
stone,  like  the  whole  of  the  church. 
Their  cajjitals  are  narrow  and  flaring, 
more  primitive  and  less  elegant  than  those 
in  the  catliedral  of  Orvieto  :  no  two  are 
alike,  and  the  foliage  is  worked  in  high  re- 
lief and  .sharp  outline,  producing  strong 
effects.  The  five  great  arches  of  the 
interior  recall  Sta.  Maria  at  Toscanella, 
but  are  more  nearly  Lombard  in  form. 
Tlie  interior  is  covereil  by  a  wooden  roof 
and  is  lighted  bv  ten  i-duiid-hcadi'd  win- 
dows.    [A.  L.  F.,  Jr.] 

S.  SiSTO  belongs  to  tlie  late  l((iinanesi|ue 
style.  It  is  a  basilica  witli  three  apses 
and  no  transejit.  The  nave  is  supported 
on  each  side   Itv  four  higli  columns  and  a 


groujied  pier  toward  the  transept.  Its 
delicate  columnar  style  shows  the  influ- 
ence of  Tuscany.  The  groined-vaulting 
over  nave  and  aisles  is  recent,  tlieir  orig- 
inal covering  having  been  a  wooden  roof. 
The  most  remarkable  part  of  the  church 
is  the  choir,  which  appears  to  have  been 
built  in  about  1300,  after  the  nave  and 
aisles.  It  is  reached  by  a  high  flight  of 
stejjs  and  consists  of  two  bays  whose  vaults 
reach  to  nearly  twice  the  height  of  the 
main  body  of  the  church.  These  are  tun- 
nel-vaults ;  three  of  them,  those  over  the 
aisles  and  the  one  in  the  nave  next  to 
the  apse,  run  parallel  with  the  axis  of 
the  church  :  that  over  the  central  bay 
next  to  the  nave  runs  transversely,  and 
thus  receives  the  thrust  of  the  others. 
This  arrangement  is  interesting,  and  so 
unusual  as  to  be  unique  in  this  2'!irt  of 
Italy.  The  two  piers  at  the  entrance  of 
this  choir  are  oblong,  with  engaged  col- 
umns and  pilasters ;  the  central  support 
of  the  choir  on  each  side  is  an  immense 
column  whose  capital  resembles  strongly 
those  in  the  cathedral  of  Orvieto.  [A. 
L.  F.,  Jr.] 
YOLTERRA,  (anc.  Yolaterr^),  Italy. 

The  Baptistery  is  a  small  octagonal 
liuilding  of  two  stories,  dating  probably 
from  the  ix  cent.,  but  rebuilt  in  the  xiii, 
with  rude  pilasters  at  the  angles,  a  thin 
projecting  cornice,  and  a  low  octagonal 
dome.  The  walls  are  of  black  and  white 
marble  in  alternate  courses.  On  one  side 
of  the  octagon  is  a  round-arclied  doorway 
with  some  interesting  sculpture,  on  the 
other  sides  single  narrow  round-headed 
windows.  The  interior  has  a  fine  octag- 
onal font  by  Sansovino,  and  a  beautiful 
ciborium  by  Mino  da  Ficsole  dating  from 
14;i. 

The  Cathedral,  originally  a  small 
Romanesque  church,  consecrated  in  1120 
by  Calixtus  II.,  was  enlarged  in  the  mid- 
dle of  the  XIII  cent.,  and  made  into  a  Latin 
cross  by  adding  a  transept  with  a  project- 
iujr    choir.       Niccolo    Pisano    is   credited 


642 


VULCI 


with  tlio  alteration,  or  at  least  with  the 
t'a(;ade,  which  is  dated  in  Vi't-i.  This  re- 
sembles the  fronts  of  Pisa  and  Lucca  ;  it 
has  three  round-arched  doorways  and  ar- 
caded  galleries  above,  with  three  round 
windows  and  a  central  gable.  The  church 
was  considerably  altered  within  in  1570,  by 
Cipriani,  covered  with  a  flat  ceiling,  and 
the  choir  altogether  modernized.  It  con- 
tains a  marble  pulpit,  apparently  of  the 
end  of  the  xii  cent.,  supported  on  four 
granite  columns  which  rest  on  the  backs 
of  lions,  and  adorned  with  reliefs  some- 
what in  the  style  of  Niccolo,  but  of  in- 
ferior sculpture.  There  is  also  a  font  of 
similar  style  ascribed  to  one  Master  Ste- 
fano  in  1245. 

Palazzo  Belforti,  a  private  palace 
probably  of  the  xiv  cent.,  with  a  fine  sim- 
ple facade  of  stone  in  four  stories,  some  C5 
ft.  broad  and  70  ft.  high.  The  first  story 
has  three  high,  broad,  pointed  -  arched 
doorways  ;  the  three  upper  stories  have 
each  a  range  of  two-light  windows  with 
round -arched  openings  separated  by  a 
slender  column,  and  a  round  bearing-arch. 
The  front  is  quite  unbroken  by  any  string- 
course or  moulding  uj)  to  the  cornice, 
which  consists  of  a  strong  arched  corbel- 
table  and  round-topped  battlements. 

Palazzo  Pubblico,  a  well-preserved 
building  of  the  xiii  cent.,  with  a  frontage 
of  about  100  ft.  and  a  depth  of  C5  ft. 
The  facade  is  of  stone  in  four  stories,  with 
a  plain  pointed-arched  doorway  in  the 
centre  at  the  level  of  the  street,  and  at  the 
side  two  similar  but  smaller  doorways 
opening  on  a  raised  terrace,  formerly  serv- 
ing as  a  riiigliiera  or  balcony  from  which 
the  magistrates  addressed  the  jieople. 
The  three  ujDper  stories,  substantially 
alike  in  design,  have  all  two-light  win- 
dows, divided  by  slender  columns  and 
covered  by  pointed  bearing-arches.  The 
front  is  finished  with  a  line  of  semicircu- 
lar battlements.  A  low  tower  rises  from 
the  front  wall,  with  arched  corbel-table 
and  battlements,  above  which  was  original- 


ly a  belfry  consisting  of  four  massive  col- 
umns carrying  an  entablature,  which  has 
now  disappeared. 

PoKTA  all'  Arco,  an  ancient  Etruscan 
arched  gateway  in  the  city  walls,  sur- 
rounded by  medioeval  work,  with  which 
its  massiveness  forms  a  striking  contrast. 
It  is  a  double  gateway,  with  about  30  ft. 
between  the  entrances,  which  are  con- 
nected by  walls  of  huge  sqiiared  blocks. 
The  exterior  arch  bears  three  large  human 
heads  in  the  round,  one  on  the  keystone 
and  the  two  others  at  the  springing  on 
each  side.  The  moulded  imposts  are  al- 
most Greek  in  character.  The  inner  arch 
more  resembles  Roman  work,  and  shows 
mediajval  restorations. 

The  Etruscan  W.^lls  can  be  followed 
through  a  great  part  of  their  circuit  of 
about  four  miles,  though  in  large  part  in- 
corporated with  later  fortifications.  The 
masonry  is  approximately  rectangular, 
much  of  it  in  very  large  blocks,  and  there 
are  very  impressive  stretches  of  wall.  Be- 
sides the  Porta  all'  Arco  {q.  v.),  there  is 
another  Etruscan  gateway,  also  double,  of 
precisely  similar  plan — the  Porta  di  Diana, 
which,  however,  is  not  well  preserved. 
Within  the  walls  are  remains  of  a  Roman 
theatre,  and  of  a  piscina.  The  latter  is 
underground,  and  consists  of  three  lofty 
parallel  vaults  supported  on  square  piers. 
The  piers  are  braced  together  beneath  the 
vaults  by  flat  arches.  Without  the  walls 
are  extensive  ruins  of  Roman  thermae, 
with  masonry  of  brick  and  rubble,  marble 
incrustation,  and  mosaic  pavements,  and 
an  important  Etruscan  necropolis. 
VULCI  (auc.  Volci),  Italy. 

PoNTE  DELLA  Badia,  a  grand  ancient 
aqueduct  bridge  spanning  a  deep  ravine  at 
the  bottom  of  which  flows  a  stream.  It 
consists  of  a  single  splendid  arch  96  ft. 
high  by  62  ft.  in  span,  with  huge  abut- 
ments of  masonry,  one  of  which  is  pierced 
by  a  small  arch.  The  masonry  shows  that 
the  original  construction  of  the  bridge  was 
Etruscan,  and  that  the  existing  arches  are 


543 


XAXTHUS 


Roman.  Huge  sheets  of  stalactites  hang 
over  the  wall  of  one  of  the  abutments,  pro- 
jecting about  7  ft.  from  the  wall  and  des- 
eending  20  ft.  ;  producing  a  very  strange 
effect,  like  u  petrified  waterfall. 
XANTHUS,  Lycia,  Asia  Minor. 

II.VKi'Y  Tomb,  so-called,  a  square  pier 
l(j  ft.  high,  tlie  top  of  which  was  sur- 
rounded by  the  famous  frieze,  above  which 
is  a  projecting  cornice  surmounted  by  a 
square  die.  I'lie  sculptures  have  been  re- 
moved almost  in  their  entirety  to  the 
British  Museum.     The  frieze   consists  of 


tcreolumniations  of  the  peristyle  were 
placed  tlie  so-called  figures  of  Xereids  to 
whiidi  the  monument  owes  its  usual 
name.  The  stj-le  of  the  sculj^ture  is  an 
imitation  of  the  Attic,  with  manifest  signs 
of  oriental  influences. 

Theatre.  The  auditorium  is  in  good 
masonry  and  in  very  fair  preservation, 
thougii  much  overgrown  with  trees. 
Portions  of  the  stage-structure  are  stand- 
ing to  a  certain  height.  The  profile  of 
the  seats  displays  a  curve  outward  in  the 
rise,  with  a  jjlain  square  edge  above,  and 


scenes  of  adoration  and  religious  ceremo-     a  depression  at  the  back  for  the  feet  of  the 


nial,  with  which  are  interspersed  four 
winged  figures  with  the  busts  of  women 
and  the  tails  and  feet  of  birds,  each  Ixar- 
ing  tenderly  a  small  human  form.  The 
earliest  investigators  mistook  the  winged 
figures  for  Harpies  ;  they  are  in  fact,  no 
doubt,  beneficent  genii,  and  the  human 
forms  which  they  bear  represent  souls. 
The  sculpture  is  archaic  in  style,  but  has 
much  charm. 

Nekeid  Moxtmext,  so-called,  held  to 
be  the  tomb  of  a  Lycian  prince  or  Persian 
satrap  named  Pericles,  whose  ornamental 


spectators  of  the  tier  above.  There  are 
in  the  cavea  some  thrones  of  honor,  with 
backs,  and  lions'  feet  in  front. 
YAHKLI  (Euromus),  Caria,  Asia  Minor. 
Temple,  in  a  recess  of  the  hills  about 
eight  miles  north  of  Melassa.  It  is  Co- 
rinthian, peripteral,  hexastyle,  with  eleven 
columns  on  the  flanks  on  a  stylobate  of 
three  steps.  The  plan  measures  about 
•15  ft.  by  95  ft. ;  the  diameter  of  the  col- 
umns is  at  the  base  about  3  ft.,  at  the 
neck  2J  ft.;  their  height  is  27  ft.  The 
columns  rest  on  square  plinths  and  have 


features    have   been    transported    almost     on   the  shafts  panels  inscribed  with    ilie 


entirely  to  the  British  Museum.  It  is  a 
double  cella  with  entrances  in  antis,  sur- 
rounded by  an  Ionic  colonnade  of  four 
columns  on  the  fronts  and  six  on  the  sides, 
thecai)itals  of  which,  though  much  heavier, 
present  analogies  witJi  tliose  of  the  Ercch- 
theum  at  Athens.  There  is  no  frieze  in 
the  entablature,  the  architrave  of  wliich 
bears  reliefs  like  that  of  the  temple  at 
Assos.  The  date  is  later  than  370  B.C.  The 
chief  frieze  of  the  high  basement  repre- 
sents a  combat  of  horse  and  foot-soldiers  ; 
the  second  frieze,  of  oriental  character, 
portrays  the  siege  of  a  town  ;  the  frieze  of 
the  cella  shows  banquets  and  sacrifices  ; 


names  of  the  donors.  Both  jironaos  and 
opisthodomos  had  two  columns  in  antis. 
Parts  of  the  cella  wall  and  sixteen  col- 
unius,  five  of  them  in  the  rear  faQade.  re- 
main standing,  with  jtortions  of  their  en- 
talilatiire.  The  columns  on  the  south 
side  are  not  fluted.  The  workmansliip  is 
good,  though  the  mouhlings  are  somewhat 
heavy. 
ZAHA,  Dalmatia. 

The  Campaxile  is  a  fine  xii  cent. 
tower  of  a  type  common  in  Italy.  Square 
in  jilan,  it  rises  straight  and  unbuttrcssed 
to  the  top.  and  is  capped  by  a  low  j)y- 
ramidal  roof.     The  different  stories  have 


the  sculpture  of   the  exterior   architrave  groups   of    round-arched    windows    with 

represents  hunting-scenes  and  the  olfering  mid-wall    shafts,    increasing    in    number 

of  presents  to  a  satrap.     The   pediments  toward   the  toji  stage  and   set  in  shallow 

were  also   filled  witli  sculpture,  and  the  panels  between  flat  pilasters.     According 

acroteria  were   small  statues.     In  tlie  in-  to  an  inscription  the  tower  was  built  in 


ZARA 


1105,  by  King  Coloniaii  of  Hungary,  to 
commemorato  his  triuinplial  ontry  into 
Zara  in  tliat  year. 

The  Cathedral,  (Sta.  Anastasia),  dates 
from  the  xiii  cent.,  and  is  one  of  the  best 
examjDles  of  Dalmatian  architecture.  It 
is  a  basilica  of  unusual  jjrojiortions,  the 
nave  being  three  times  as  wide  as  the 
aisles.  The  interior  dimensions  are  about 
ICO  ft.  by  00  ft.  On  each  side  of  the  nave 
are  four  round  arches  sujjjiorted  on  piers 
alternating  with  columns,  with  a  single 
bay  beyond  at  each  end.  The  piers  have 
engaged  shafts  with  heavy  cushion  cap- 
itals, and  pilasters  facing  the  nave.  The 
columns  are  of  antique  marble  with  de- 
based Corinthian  capitals.  The  piers  at 
the  entrance  of  the  choir  have  grouijed 
columns  with  capitals  of  Corinthian  type 
rudely  imitated  from  Roman  work.  The 
separation  between  nave  and  choir  has 
been  further  marked  in  modern  times  by 
a  stucco  arch  and  other  work  which  con- 
ceals the  piers.  The  round  arches  of  the 
triforium  rest  on  square  i^iers  and  have 
alternate  voussoirs  of  white  and  red.  Be- 
tween the  piers  is  an  arched  Iwlustrade  ; 
above  are  clerestory  windows.  The  nave 
ends  in  a  semicircular  apse  beneath  which 
is  a  spacious  crypt.  A  marble  seat  for  the 
clergy  runs  round  the  apse,  with  a  dado 
of  red  breccia,  and  the  bisho^j's  throne  in 
centre.  The  choir  contains  a  high  altar 
surmounted  by  a  rich  marble  baldacchino, 
square  in  plan,  with  pointed  arches  on  col- 
umns of  eipollino  marble  and  capitals  imi- 
tated from  the  classic.  A  Lombardic  in- 
scription dates  it  1333.  The  elaborately 
carved  choir  stalls  are  Venetian  work  of 
the  XV  century.  The  exterior  of  this  cathe- 
dral, built  of  a  compact  white  limestone 
like  marble,  is  the  finest  in  Ualmatia. 
The  lower  part  of  the  fayade  is  a  plain 
wall  pierced  by  three  round-arched  doors 
with  sculptured  tympana  and  jamb  shafts. 
Above  these  the  whole  facade  is  covered 
with  tiers  of  arcading  which  recalls  the 
churches  of  Pisa  and  Lucca.     The  lower 


capitals  are  Romanesque,  while  in  the 
three  upper  arcades  they  are  later  in  char- 
acter and  the  shafts  are  coupled.  Two 
rose-windows,  one  over  the  other  and  of 
different  ages,  ornament  the  facade.  The 
north  wall  has  an  arcaded  gallery.  The 
building  was  probably  begun  in  the  early 
part  of  the  xiii  cent.,  on  the  site  of  an 
older  church.  It  was  consecrated  by 
Archbishop  Lorenzo  Periandro  in  r285, 
but  the  fa9ade,  according  to  an  inscription 
on  it,  was  not  built  until  1324:.  On  the 
south  is  the  sacristy,  an  apsidal  building 
older  than  the  cathedral,  and  an  old  hex- 
agonal bai)tistery  which  contains  a  circular 
chamber  with  a  dome  20  ft.  in  diameter, 
surrounded  by  six  apses  covered  by  semi- 
domes. 

The  Chapter  House  of  Sta.  Maria,  ad- 
joining the  conventual  church,  dates  from 
the  founding  of  the  convent  in  10C6.  It 
is  a  hall  30  ft.  by  18  ft.,  covered  with  a 
barrel-vault  springing  from  an  enriched 
string  -  course  carried  all  round,  and 
strengthened  by  four  cross-ribs  supported 
on  vaulting  shafts.  At  the  west  end  a 
stairway  leads  to  an  upper  chapel  which 
looks  into  the  chapter  house  through  an 
arched  window.  This  chapel  has  a  vault 
crossed  by  diagonal  ribs  s])ringing  from 
detached  corner  columns  with  cushion 
capitals. 

Porta  Marina,  or  di  S.  Crisogono,  a 
Roman  single  arch  with  a  Corinthian  pi- 
laster on  each  side  upholding  an  inscribed 
entablature.  It  formerly  bore  statues,  Ijut 
these  are  gone,  and  a  Venetian  inscription 
occupies  their  place. 

S.  Ceisogoxo,  a  fine  Romanesque 
church  of  the  xii  to  the  xv  century.  The 
plan  is  basilican,  with  nave,  side  aisles,  and 
three  semicircular  eastern  a2ises.  The 
nave  measures  90  ft.  by  2.5  ft.,  with  seven 
bays  ;  the  whole  width  is  about  52  ft. 
The  pier  arches,  as  in  the  cathedral, 
spring  alternately  from  grouped  piers 
and  from  columns.  The  columns  are  of 
marble  with   early  Romanescpie   capitals. 


ZARA 


Tlie  ceilings  are  of  wood.  Tlie  exterior 
is  better  jjreserved  aud  finer  than  the 
interior.  Tlie  main  ajise  is  ornament- 
ed by  an  ojjen  gallery  whose  arches  rest 
on  slender  round  columns  with  cushion 
caiiitals.  'I'lie  south  wall  of  the  church 
has  a  shallow  round-arched  arcade  with 
coupled  spiral  columns.  All  this  work  is 
undoubtedly  of  the  xii  century.  The 
central  part  of  the  fa9ade,  of  later  date 
ami  inferior  design,  belongs  probably  to 
tlie  xv  cent.,  to  which  some  authorities 
assign  the  whole  building.  Across  it, 
above  the  doors,  is  an  arcade  of  round 
arches  upon  slender  coupled  columns,  with 
shallow  niches  behind.  The  church  was 
originally  that  of  an  ancient  abbey  dedi- 
cated to  S.  Antonio.  In  0-i9  it  was  re- 
dedicated  to  S.  Crisogono.  liebuilt  in  080, 
and  again  by  Archbishop  Lampridio  in 
1175,  it  was  last  consecrated  in  1407,  to 
which  time  the  central  part  of  the  front 
]irobably  belongs. 

S.  DoNATO,  adjoining  the  cathedral, 
once  the  Holy  Trinity,  is  a  two-storied 
round  church,  which  dates  from  the  ix 
cent.,  and  is  commemorated  in  the  writ- 
ings of  Constautiue  Porphyrogenitus.  It 
is  of  the  tyj3e  of  S.  Vitale,  at  Ravenna,  aud 
the  cathedral  of  Aix-la-Chapelle,  but  is 
smaller  aud  inferior,  the  workmanshi]! 
being  vei-y  rude.  It  is  intei-esting  from  its 
age  aud  history,  and  as  the  only  imjjor- 
tant  church  of  its  type  in  Dalmatia.  The 
])Ian  is  circular,  with  a  surrounding  aisle 
and  the  ])rincipal  door  on  the  west.  On 
tile  east  tliree  round  a])ses  project,  of 
which  the  middle  one  is  the  largest. 
The  aisle  and  apses  are  two-storied,  being 
vaulted — the  aisle  with  an  annular  vault 
that  follows  the  outside  wall.  The  central 
space  or  nave  is  open  to  the  full  height  of 
the  building,  and  was  once  covered  bv  a 


dome  now  fallen.  The  arcade  of  eight 
arches  lias  in  each  story  six  heavy  piers, 
and  two  columns,  taken  from  old  Roman 
buildings  and  considerably  mishandled, 
the  columns  being  between  the  apses, 
which  are  covered  by  semi-domes.  Both 
interior  and  exterior  are  extremely  plain. 
Constantiue  speaks  of  a  separate  church 
in  the  second  story."  It  was  jiroljably  used 
by  the  catechumens  or  by  the  women,  and 
was  reached  by  a  sejjarate  door,  now 
blocked  up.  A  rudely  carved  hood- 
moulding  over  the  outer  doorway  of  the 
staircase  is  the  only  original  ornamental 
feature  to  be  seen.  In  1877  an  excava- 
tion showed  that  the  foundation  of  the 
church  rested  on  an  old  Roman  pavement, 
and  was  entirely  composed  of  the  frag- 
ments of  Roman  buildings,  some  of  which 
were  large  and  richly  sculptured.  The 
cliurch  was  probably  built  by  Bishoj) 
Donatus  III.,  the  patron  saint  of  Zara, 
about  8111,  and  originally  dedicated  to  the 
Holy  Trinity.  In  1798  the  Austrians 
turned  it  into  a  storehouse  aud  disposed 
of  its  altars  and  pictures.  It  was  restored 
to  the  cathedral  authorities  in  1870,  and  is 
now  a  museum  of  antiquities. 

S.  PiETBO  Vecchio,  an  old  stone  church 
of  unknown  date,  perhaps  before  the  viii 
cent.,  which  is  said  to  be  the  oldest  in 
Zara.  Its  plan  is  unusual,  consisting  of  a 
double  nave  divided  by  a  round-arched 
central  arcade.  The  east  ends  of  both 
naves  are  square,  but  covered  by  semi-domes 
carried  on  squinches,  a  common  device  in 
Dalmatia.  The  western  eiul  has  been  de- 
stroyed to  make  way  for  the  apse  of  the 
adjoining  church  of  8.  Andrea.  Each 
nave  has  four  bays  with  groined  vaults  of 
poor  form  and  construction.  The  central 
arcade  is  made  up  of  Ilomau  fragments  ir- 
regularly put  together. 


54G 


GETTY  CENTER  LIBRARY 
3  3125  00700  3656 


S>i. 


>^. 


